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The study of old instruments can give us much knowledge that is important and interesting 
about the history of music. Though the general falling into disuse and consequent unavailability of 
some once common instruments necessitates the music written for them being played nowadays on 
other instruments related to or evolved from the originals, familiarity with the instruments for which 
the music was originally written can give us considerable enlightermient and often a revelation of the 
composer's intentions. Moreover, through the evocation of the music of the past which the study of 
old instruments permits we are able to understand better the thoughts and emotions which affected 
our ancestors, whether this be in the field of formal music-making or of folk-music and song. 

There are other reasons for recommending this book which deals with the finest specimens of 
what is without doubt the most popular and important family of instruments — the violin family. 
Firstly, the difficulties of distinguishing the false from the genuine are such that only an expert treatise 
such as the present one can enable one to pursue one's studies with any assurance. Secondly, the book 
is more than a mere compilation: it is critical in mood and attempts to acquaint the public with what 
should be considered the proofs of genuineness. 

While it would be false to claim that many modern instruments are not of outstanding quality, 
it is also true that for all intents and purposes most of the stringed instruments achieved their final 
form long ago (there has been little evolution since) and that they achieved a state of perfection at the 
hands of the great violin makers which has never been surpassed. 

From many points of view then this book can fairly claim to be of the utmost value and 
importance in the study of music. 

In conclusion I wish it every success on its journey. 






Prof. ]. B. K. 



Karel Jalovec 





No Page 

Albani Paolo, Palermo 1 33 

Amati Andrea, Cremona, 1574 2, 3 33, 34 

Amati Hieronymus Cremonensis 4, 5 35, 36 

Amati Hieronymus (fil. Nicolo), Cremona . . 12 41 

Amati Antonius & Hieronymus, 1609 .... 8 38 

Amati Antonius & Hieronymus, 1605 .... 10 40 

Amati Antonius & Hieronymus, 1609 .... 7 38 

Amati Antonius & Hieronymus, 1610 (Viola) . 11 40 

Amati Antonius & Hieronymus, 1615 (Cello) . 6 37 

Amati Antonius & Hieronymus, 1620 .... 9 39 

Amati Nicolaus, Cremona 15 43 

Amati Nicolaus, Cremona (Outline) .... 384 I 

Amati Nicolaus, Cremona, 16 14 42 

Amati Nicolaus, Cremona, 1645 17 44 

Amati Nicolaus, Cremona, 1653 16 43 

Amati Nicolaus, Cremona, 1658 (Outline) . . 385 I 

Amati Nicolaus, Cremona, 1662 18, 19 44, 45 

Amati Nicolaus, Cremona, 1663 (Outline) . . 386 II 

Amati Nicolaus, Cremona, 1676 (Outline) . . 387 III 

Amati Nicolaus, Cremona, 1678 (Outline) . . 388 IV 

Amati Nicolaus, Cremona, 1682 13 41 

Baldantoni Joseph, Ancona, 1817 20 45 

Balestrieri Thomas, Mantua 21 46 

Balestrieri Thomas, Mantua, 1752 22 46 

Balestrieri Thomas, Mantua, 1760 24 47 

Balestrieri Thomas, Mantua, 176 23 47 

Balestrieri Thomas, Mantua, 1762 25 48 

Balestrieri Thomas, Mantua, 1762 26 65 

Balestrieri Thomas, Mantua, 1765 27 66 

Balestrieri Thomas, Mantua, 1769 28 66 

Bellosius Anselmus fecit Venetiis, 1780 ... 29 67 

Bergonzi Carlo, Cremona, 1737 31 68 

Bergonzi Carlo, Cremona, 1740 33 70 

Bergonzi Carlo, Cremona, 1742 30 68 

Bergonzi Michel Angelo, Cremona, 17 . . . . 32 69 

Bergonzi Nicolo, Cremona, 17 35 71 

Bergonzi Nicolo, Cremona, 178 34 70 

Bertolotti Gasparo, Brescia 36 71 

Bertolotti Gasparo, Brescia, 1580 37 72 

Bertolotti Gasparo, Brescia, 1580 (Viola) ... 38 73 

Bertolotti Gasparo, Brescia, 1590 (Outline) . . 389 V 

Bertolotti Gasparo, Brescia, 1601 39, 40 74, 75 

Bertolotti Gasparo, Brescia, 1601 (Outline) . . 390 VI 

Bianchi Nicolo 43 78 

Brandini Jacopo, Pisa, 1797 41, 42 76, 77 

Bruno Carlo, Turin, 1901 44 78 

Busan Domenico, Vicenza 45 79 

Camilli Camillus, Mantua 46, 47 80, 97 

Calcanius Bernardus, Genuae, 1742 48 98 

Calcanius Bernardus, Genuae, 1744 49 99 

Cappa Jofredus, Saluzzio, 1692 50 99 

No Page 

Carcassi Lorenzo, Firenze, 1754 51 100 

Carcassi Tommaso, Firenze, 1749 52 100 

Carcassi Tommaso, Firenze, 1771 53 101 

Castello Paulus, Genua, 1773 54 102 

Celoniatus Joannes Franciscus, Taurini, 1735 . 55 103 

Cerutti Enrico, Cremona, 1852 56, 57 104, 105 

Cerutti Giuseppe, Cremona 58 105 

Costa Felice, Parma, 1811 59 106 

Dalaglio Joseph, Mantua, 1823 60 107 

Dalla Corte Alfonso, Napoli, 1844 61 107 

Dalla Costa Pietro Antonio, Treviso .... 62 108 

Dalla Costa Pietro Antonio, Treviso, 1740 . . 63 109 

Deconet Michael, Venetiae, 1754 64, 65 110, 111 

Despines Alessandro, Taurini, 1840 69 130 

Degani Eugenio, Venezia, 1875 66, 67 112, 129 

De Emilianis Franciscus, Roma, 1734 .... 68 130 

Gabrieli Gio Battista, Firenze, 1770 (Viola) . . 93 163 

Gaglianus Alexander, Neap., 1710 70 131 

Gagliano Alessandro, Neap., 1743 71 131 

Gagliano Alessandro, Neapol 383 416 

Gagliano Ferdinandus, Neap. (Viola) .... 72 132 

Gagliano Ferdinandus, (Cello) 73 133 

Gagliano Ferdinandus, 1760 74 134 

Gagliano Ferdinandus, 1760 75 135 

Gagliano Januarius, 1755 76 136 

Gagliano Januarius, 1750 (Cello) 382 415 

Gaghano Joannes, 1804 77, 78 137, 138 

Gagliano Joseph (Viola) 79 139 

Gagliano Joseph, 1758 80 140 

Gagliano Joseph, Neap., 1786 81 140 

Gagliano Nicolaus, Neap., 17 82 141 

Gagliano Nicolaus, 1711 83 141 

Gaghano Nicolaus, 1723 84 142 

Gagliano Nicolaus, 1723 85 143 

Gagliano Nicolaus, 1723 86 143 

Gagliano Nicolaus, 1732 87 144 

Gagliano Nicolaus, 1732 88 144 

Gagliano Nicolaus, 1736 91 162 

Gagliano Nicolaus, 1738 92 162 

Gaghano Nicolaus, 1739 89 161 

Gagliano Nicolaus, 1740 90 161 

Gagliano Nicolaus, 1740 94 164 

Galli Domenico, Parma, 1687 95 165 

Galh Domenico, Parma, 1691 (Cello) .... 96 166 

Gigli Giulio, Roma, 1763 97 167 

Gobetti Francesco, Venetia 98 167 

Gobetti Francesco, Venetiis 99 168 

Gobetti Francesco, 1730 101 170 

Gobetti Francesco, Venetiis, 1730 102 170 

Goffriller Matteo, Venetia, 1700 100 169 

Goffriller Matteo, 1724 104 172 

No Page 

Goffriller Matteo, 1728 105 172 

Goffriller Matteo, 1732 (Cello) 103 171 

Gragnani Antonio, Livorno, 1762 106 173 

Grancino Giov. Bapt., Milan, 1699 107 174 

Grancino Giambattista, Milano, 1700 .... 108 174 

Grancino Giovanni Baptista, 1704 109 175 

Grancino Giovanni, Milano, 1707 110 176 

GruUi Pietro, Cremona Ill, 112 177, 178 

Guadagnini Carlo, Torino, 1829 113 179 

Guadagnini Gaetano, Torino, 1831 114 179 

Guadagnini Joannes Bapt., Parma, 1740 . . . 115 180 

Guadagnini Joannes Baptista, 1753 116 180 

Guadagnini Joannes Bapt., 1768 117 181 

Guadagnini Joannes Bapt., 1770 118 182 

Guadagnini Joannes Bapt., 1780 119 182 

Guadagnini Joannes Bapt., 1780 120 183 

Guadagnini Joseph, Parmae, 1770 121 183 

Guadagnini Lorenzo 122, 123 184, 185 

Guadagnini Lorenzo, 1740 124 186 

Guadagnini Lorenzo, 1745 125 186 

Guarneri — scroll 126—145 187, 196 

Guarneri Andrea, Cremona 146 197 

Guarneri Andrea, Cremona 147, 148 198, 199 

Guarneri Andrea, Cremona 149 200 

Guarneri Andrea, Cremona (Cello) . . . 152, 153 202, 203 

Guarneri Andrea, 1645 154 204 

Guarneri Andrea, 1635 (Outline) 391 VII 

Guarneri Andrea, 1662 151 201 

Guarneri Andrea, 1669 155 205 

Guarneri Andrea, 1676 156 206 

Guarneri Andrea, 1687 150 201 

Guarneri Andrea, 1690 157 207 

Guarneri Joseph filius Andreae, Cremona . . 158 208 

Guarneri Joseph filius Andreae, Cremona . . 159 208 

Guarneri Joseph filius Andreae, Cremona 160, 161 209, 210 

Guarneri Joseph filius Andreae, Cremona, 1690 162 211 

Guarneri Joseph filius Andreae, Cremona, 1696 164, 212 

165 213 

Guarneri Joseph fil. Andreae, 1700 163 211 

Guarneri Joseph fil. Andreae, 1705 168 216 

Guarneri Joseph fil. Andreae, 1710 166 214 

Guarneri Joseph fil. Andreae, 1720 167 215 

Guarneri Joseph fil. Andreae, 1720 169 216 

Guarneri Joseph fil. Andreae, 1735 (Outline) . 392 VIII 

Guarneri Joseph del Gesu, Cremona .... 170 217 

Guarneri Joseph del Gesu, Cremona .... 171 218 

Guarneri Joseph del Gesu (Ondficek) . . 172, 173 219, 220 

Guarneri Joseph del Gesu 174 221 

Guarneri Joseph del Gesu 175 222 

Guarneri Joseph del Gesu 177 224 

Guarneri Joseph del Gesu, "Ysay", (Outline) . 394 X 

Guarneri Joseph del Gesu, 1726 176 223 

Guarneri Joseph del Gesu, 1727 178 224 

Guarneri Joseph del Gesii, 1728 179 225 

Guarneri Joseph del Gesu, 1730 180 225 

Guarneri Joseph del Gesu, 1733 181 226 

Guarneri Joseph del Gesu, 1733 182 226 

Guarneri Joseph del Gesu, 1734 183 227 

Guarneri Joseph del Gesu, 1734 184 227 

Guarneri Joseph del Gesu, 1734 185 228 

Guarneri Joseph del Gesii 1734 (Outline) . . 395 XI 

Guarneri Joseph del Gesii, 1735 186 228 

Guarneri Joseph del Gesu, 1736 187 229 

No Page 

Guarneri Joseph del Gesu, 1736 188 

Guarneri Joseph del Gesu, 1737 189 

Guarneri Joseph del Gesu, 1737 190 

Guarneri Joseph del Gesu, 1739 191 

Guarneri Joseph del Gesu, 1739 192 

Guarneri Joseph del Gesu, 1739 (Outline) . . 397 

Guarneri Joseph del Gesu, 1739 (Outline) . . 393 

Guarneri Joseph del Gesu, 1739 (Cello) (Outline) 396 

Guarneri Joseph del Gesii, 1739 (Outline) ... 398 

Guarneri Joseph del Gesii, 1739 (Outline) ... 399 

Guarneri Joseph del Gesu, 1742 (Outline) . . . 400 

Guarneri Joseph del Gesu, 1740 (Outline) ... 193 

Guarneri Joseph del Gesu, 1742 (Paganini) 194, 195 

Guarneri Joseph del Gesii, 1744 196 

Guarneri Joseph alumnus Andreae Gisalberti . 197 

Guarneri Pietro I., 
Guarneri Pietro I., 
Guarneri Pietro I., 
Guarneri Pietro I., 
Guarneri Pietro I., 
Guarneri Pietro I., 
Guarneri Pietro I., 
Guarneri Pietro II., 

Mantua 198 

Mantua 200 

Mantua, 1685 199 

Mantua, 1686 201 

Mantua, 1695 202 

Mantua, 1698 203 

Mantua, 1727 .... 204—208 

, Venetiis, 1735 209 

Guarneri Pietro II., Venetiis, 1749 210 

Jorio Vincenzo, Napoli 211 

Jorio Vincenzo, Napoli 212 

Landolfi Carlo Ferdin., Milano 213, 214 

Landolfi Carlo Ferdin., Milano . . .... 216 

Landolfi Carlo Ferdin., Milano (Cello) .... 215 

Landolfi Carlo Ferdin., Milano, 1741 . . 217, 218 
Landolfi Pietro Antonio, Milano, 1780 .... 219 

Lanza Antonio Maria, Brescia, 1706 221 

Lavazza Santino, Milano 220 

Lavazza Santino, Milano, 1634 222, 223 

Lavazza Santino, Milano, 1634 224, 225 

Leb Matias, Piacenza, 1775 226, 227 

Maggini Giovanni Paolo, Brescia 228 

Magglni Giovanni Paolo, Brescia 229 

Maggini Giovanni Paolo, Brescia 230 

Maggini Giovanni Paolo, Brescia 231 

Maggini Giovanni Paolo, Brescia 232 

Maggini Giovanni Paolo, Brescia (Gamba) . . 233 
Maggini Giovanni Paolo, Brescia (Outline) . . 401 

Mandotti Giuseppe, 1755 234 

Mantegatia Petrus Joannes, Mediolani, 1782 . . 235 

Molinari Joseph, Venetiis 237 

Montade Gregorio, Cremona, 1620 236 

Montagnana Domenicus, Venetiis, 1735 . . . 238 
Montagnana Domenicus, Venetiis, 1737 . . . 239 
Montagnana Domenicus, Venetiis, 1740 . . . 240 

Odoardi Joseph, Piceno 241, 242 

Odoardi Joseph, Piceno, 1778 243 

Panormo Vincenzo, 1800 244 

Panormo Vincenzo 245 

Pazarini Antonio, 1732 246 

Postachini Andrea, Fermo, 1814 247 

Pressenda Joannes Franciscus, Taurini . 249, 250 
Pressenda Joannes Franciscus, Taurini, 1830 . 252 
Pressenda Joannes Franciscus, Taurini, 1831 . 248 
Pressenda Joannes Franciscus, Taurini, 1832 251, 253 
Pressenda Joannes Franciscus, Taurini, 1840 . 254 

Rivolta Giacomo, Milano, 1822 255 

Rocca Joseph Antonius, Taurini, 1854 .... 256 













233, 234 














247, 248 



250, 251 




254, 255 

256, 273 

273, 274 















283, 284 






288, 289 



290, 291 







Rocca Joseph, Taurini, 1832 

Rogeri Giovanni Battista, Brescia (Viola) 
Rogeri Giovani Battista, Brescia (Cello) . 
Rogeri Giovanni Battista, Brescia, 1704 . 
Rogeri Giovanni Battista, Brescia, 1712 . 
Rogeri Pietro Giacomo, Brescia, 1707 . . 
Rogeri Pietro Giacomo, Brescia (Cello), 1734 
Ruggieri Antonio, Cremona, 1723 .... 
Ruggieri Francesco detto il Per, Cremona, 1672 
Ruggieri Francesco detto il Per, Cremona, 1678 


Ruggieri Francesco detto il Per, Cremona, 1691 
Ruggieri Francesco detto il Per, 1696 (Cello) 268, 269 
Ruggieri Francesco detto il Per, 1698 (Viola) 270, 271 

Ruggieri Vincenzo, Cremona, 1725 272 

Sellas Matteo, Venezia, 1730 273 

Sellas Georgio, Venezia, 1627 274 

Seraphin Sanctus, Venetiis, 1735 275 

Seraphin Sanctus, Venetiis, 1709 276 

Soliani Angelus, Modena, 1791 277 

Storioni Laurentius, Cremona 278, 279 

Storioni Laurentius, Cremona, 1795 (Outline) . 402 

Stradivari Antonio, 1691 280 

Cremona: Piazza di S. Domenico 3 282 

Collezione "Dalla Valle" . . . 283, 284, 286, 287, 

288, 289, 290 

Stradivari f 285 

Cremona ca 1700 281 

Collezione "Dalla Valle" .... 292, 293, 294 

Cardinal Vincenzo Maria Romanus 291 

Stradivari Antonio, 1667 296 

Stradivari Antonio, 1671 297 

Stradivari Antonio, 1679 (Hellier) 298 

Stradivari Antonio, 1679 299 

Stradivari Antonio, 1680 300 

Stradivari Antonio, 1681 301 

Stradivari Antonio, 1683 (Suk) .... 502, 303 

Stradivari Antonio, 1684 (Webbs) 304 

Stradivari Antonio, 1684 (Florentin) 306 

Stradivari Antonio, 1685 (Max Joseph) .... 307 

Stradivari Antonio, 1685 305 

Stradivari Antonio, 1685 309 

Stradivari Antonio, 1688 312, 313 

Stradivari Antonio, 1687 310 

Stradivari Antonio, 1688 311 

Stradivari Antonio, 1688 (Avery) 314 

Stradivari Antonio, 1688 (Outline) 403 

Stradivari Antonio (Archinto) 1689 315 

Stradivari Antonio, 1690 316 

Stradivari Antonio, 1690 (Viola Medico) ... 318 

Stradivari Antonio, 1690 (Viola) 317 

Stradivari Antonio, 1691 (Marquis de Villers) . 319 

Stradivari Antonio, 1693 (Lonquet) 320 

Stradivari Antonio, 1694 323 

Stradivari Antonio, 1700 324 

Stradivari Antonio, 1700 (Outline) 406 

Stradivari Antonio, 1688 (Outline) 405 

Stradivari Antonio, 1701 308 

Stradivari Antonio, 1701 325 

Stradivari Antonio, 1702 (Wondra Bey) . . . 327 

Stradivari Antonio, 1702 326 

No Page No Page 

293 Stradivari Antonio, 1705 (Outline) 407 XXII 

294 Stradivari Antonio, (Vescey) . . . (Outline) . . 404 XX 

295 Stradivari Antonio, 1704 (Betts) .... 295, 321 336, 356 

295 Stradivari Antonio, 1709 (Outline) 409 XXIV 

296 Stradivari Antonio, 1708 (Soil) 328 359 

297 Stradivari Antonio, 1709 (Grefuhle) 329 360 

297 Stradivari Antonio, 1709 (Riess) 332 362 

298 Stradivari Antonio, 1710 (Outline) 408 XXIII 

298 Stradivari Antonio, 1711 (Duport) 333 363 

Stradivari Antonio, 1714 (Sancy) 330 361 

299 Stradivari Antonio, 1714 (Dauphin) 322 356 

300 Stradivari Antonio, 1714 (Outline) 412 XXVII 

300, 301 Stradivari Antonio, 1715 ("Emperor"-Kubelik) . 336, 365 

302, 303 337 366 

304 Stradivari Antonio, 1715 (Alard) 331 361 

304 Stradivari Antonio, 1716 (Le Messie) .... 339 367 

321 Stradivari Antonio, 1716 (Goldman) 338 367 

321 Stradivari Antonio, 1716 (Outline) 410 XXV 

322 Stradivari Antonio, 1718 (Cello Hegar) ... 334 364 

322 Stradivari Antonio, 1718 (Outline) 411 XXVI 

323, 324 Stradivari Antonio, 1719 (Alba) 335 364 

XVIII Stradivari Antonio, 1720 (Wolhouse) .... 340 368 

325 Stradivari Antonio, 1720 (Villares) 341 369 

326 Stradivari Antonio, 1721 (Archinto) 342 370 

327, 328, 329 Stradivari Antonio, 1721 343 371 

330,331,332 Stradivari Antonio, 1722 (Rode) 345 372 

329 Stradivari Antonio, 1722 344 371 

326 Stradivari Antonio, ff 1726 347 373 

334, 335 Stradivari Antonio, 1727 (Kreutzer) 346 373 

333 Stradivari Antonio, 1727 (Viola) 348 374 

337 Stradivari Antonio, 1732 349 374 

337 Stradivari Antonio, 1732 350 375 

338 Stradivari Antonio, 1734 (Lamoureux) .... 351 376 

339 Stradivari Antonio, 1734 (Nadaud) 352 376 

340 Stradivari Antonio, 1736 (Muntz: "d'anni 92") . 353 377 

341 Stradivari Antonio, 1737 (Comte D'Armaille) . 354 378 
342, 343 Stradivari Antonio, ff 1736 355 378 

344 Stradivari Antonio, 1737 ("D'anni 93") .... 356 379 

345 Tassini Bartolomeo, 1756 (Cello) 358 380 

345 Tassini Bartolomeo, Venezia, 1753 357 380 

344 Testore Carlo Antonio, Milano, 1730 . . 359, 360 381, 382 

346 Testore Carlo Giuseppe 367 404 

348, 349 Testore Carlo Giuseppe, Milan, 1699 .... 361 383 

347 Testore Carlo Giuseppe, 1705 362 383 

347 Testore Carlo Giuseppe, 1709 363 384 

350 Tononi Carlo Antonio (Outline) 413 XXVIII 

XIX Tononi Carlo Antonio, Venezia . . 364, 365, 366 401,402,403 

351 Tononis Joannes de, Bologna, 1689 368 404 

352 Tononi Pietro, Bologna, 1717 369, 370 405, 406 

354 Valenzano Joannes Maria, Roma, 1789 .... 371 407 

353 Valenzano Joannes Maria, Roma, 1825 .... 372 407 

355 Ventapane Giuseppe, Napoli 373, 375 408, 409 

355 Ventapane Lorenzo, Napoli, 1814 374 408 

356 Ventapane Pasquale, Napoli, 1895 376 410 

357 Vinaccia Antonio, Napoli 378 411 

XXI Vinaccia Antonio, 1782 377 410 

XXI Vinaccia Giovanni, Napoli, 1754 379 412 

346 Zanoli Giambattista, Verona, 1756 380 413 

357 Zanetto Pietro, Brescia, 1686 (Cello) .... 381 414 

358 Zanetto Pietro, Brescia, 1686 
358 (Cello) — (Outline) 414—417. XIX— XXXII 


Prof. Dr. J. B. K. 


Those who wish to understand the peculiar relation of the performing artist and connoisseur to 
his stringed instrument, must learn to regard the violin and its larger relatives as works of art. The 
feelings of pride and partiality, of extreme fondness and love that certain instruments evoke, even 
the regret, when some quality is lacking or destroyed, can be understood only if this artistic approach 
is used. The original invariably is of a much higher price and value than copies made by the dozen, 
and the work of the creative master is superior to that of his followers, even though they are endowed 
with a part of his excellence and a reflection of his glory. 

Like a picture, an instrument to be a work of art must be genuine, original, accomplished and in 
its own way beautiful. Although old it must be well preserved and as nearly as possible in its original 
condition. This analogy with pictures will be helpful to us in assessing qualities, for, as with pictures, 
in this line there also existed schools, schools of instrument-making. Here, too, some sort of hierarchy 
of artists is recognized and, as in plastic art, there have been changes in taste and judgement. Severa ' 
fashions have come and gone and often what is best liked and most valued today, was misunderstood 
and unrecognized in the past and had to force its way to success. 

The matter, however, is more complicated than in the case of pictures. The aesthetic function 
of pictures is visual, meaningful and often historical, but, except for being looked at or preserved 
nothing is, or should be, done with them. In their own way stringed instruments are works of art, but 
their primary function is musical. 

Today the role of the violin or 'cello is different and considerably greater than was the case in 
the past. Before Beethoven, when delicate compositions and graceful minuets were played in the 
salons of the nobles, tenderness of tone and a flute-like timbre were valued most highly. Instruments 
made by Jacob Stainer were endowed with these qualities to perfection. This accounts for their pop- 
ularity in the past, as well as for their innumerable imitations. The German masters of the eighteenth 
century mostly endeavoured to attain the same goal: they sought for the required tone, raising the 
archings of instruments and complying with the current tastes even as far as colouring was concerned. 
Nowadays such instruments are not in very great favour; even when new they often appeared as 
though tarnished by smoke, and grew darker still with age; their tone generally falls short of the 
increased orchestral and particularly solo requirements. In modern performances, conducted in large 
halls and accompanied by powerful orchestras, resiliency and strength of tone are required. Thus 
musical development itself has brought to the fore instruments of a different build, which formerly 
had been considered by the public fit chiefly for a large church. First among these new favourites were 
the Italian instruments, whose power and clearness, even when the swiftest passages are executed, are 
a veritable miracle. 

It was only in the nineteenth century that Italian instruments achieved international fame. The 
masters of the Amati family, it is true, had been famous before that time, mostly because of the deli- 
cately subdued, silvery sound of their instruments which vied with that of Stainer, Stradivari like- 
wise had been admired during his lifetime and had noble, rich customers. His works, however, had 
still to come out of the castles and churches in order to reach the general public. With feudalism giv- 
ing way to the middle classes, the musical public underwent a change in its structure. 


The great soloists of the first half of the past century revealed the excellence of these Italian 
instruments to their audiences, who were enraptured by the richness and carrying power of the tone. 
Paganini directed public attention to Joseph Guarneri del Gesu. The collector Tarisio sought and 
gathered precious originals throughout Italy, taking them to Paris. Upon Tarisio's death they made 
J. B. Vuillaume, an excellent violin maker and an even better businessman, a rich man. The sudden 
rise in the prices of these makes is not explained by the interest of performers alone. Collecting began 
to spread and became a considerable fashion in the rich industrial countries. Many a marvellous in- 
strument was condemned to temporary silence, only to appear later on the market in an excellent state 
of preservation, sometimes even with a complete list of its previous owners. 

But the tone of a stringed instrument, although astoundingly persistent and improved by playing, 
is not everlasting. The number of old, even classical, violins worn out by constant use over a period 
of centuries, is rapidly growing. What used to be an acoustic marvel, will grow old and deteriorate, 
though ever so slowly. The number of perfect old specimens is diminishing and their prices keep 
growing. Often the tone of a wonderful fiddle becomes too soft and smooth and loses the ability to 
dominate a large orchestra. And it goes without saying that the times are gone when it was possible 
to discover an Italian rarity in some forgotten attic. The artist and even the fancier has to rest satis- 
fied with something less spectacular, just as he cannot adorn his home with a Raphael or a Rembrandt. 

The increasing price and diminishing number of first-class originals directed public attention 
first to the minor Italian masters. Many uncommonly good, almost perfect, specimens were found 
among them. A number of old Italian instruments measure up in tone to the great masters of the Cre- 
mona school. Today we appreciate their originality and do not consider them inferior, if their style 
of workmanship differs from Stradivari. On the contrary, we like them. 

Unfortunately this appreciation has in many cases come too late. Thousands of originals have 
been re-christened after greater names. The label inside is in itself no proof of origin. There are, of 
course, methods for distinguishing a genuine label from a fake and, even more important, for dis- 
covering the real craftsman. An instrument, like a picture, should itself reveal its identity. But it 
must not be "repainted", i. e. revarnished, substantially altered or fitted with incongruent new parts. 
If the instrument is in a fairly original state, the maker can often be discovered and the school to 
which be belonged almost unmistakably ascertained. And even when the school cannot be determined, 
the value of an excellent nondescript instrument cannot be denied, for it is obviously the work of 
skilled hands. Some old violin makers have been greatly wronged: we know little about them, but 
their instruments are in use, sailing under false colours. 

Because of the slow but inevitable decay of stringed instruments, violins of the oldest school of 
Brescia (Gasparo da Salo, G. P. Maggini, etc.) are extremely rare. We seldom have an opportunity 
to see and hear them. There are in existence more violas of that time, partly because violins were then 
a novelty and violas were more common, partly because violas last longer and are less played. How- 
ever, fate will inevitably one day overtake (although not soon, because of the great care bestowed 
upon them) , the famous instruments of the Cremona school also. The time will come when they will 
be worn out; cracks will appear and they will become rare relics in the hands of collectors and in the 
glass cases of museums. At the present time, those that have fortunately survived the vicissitudes of 
two and sometimes even more centuries are still in full splendour. Their high price, however, and the 
knowledge that they are past their prime, cause musicians, amateurs, and collectors to direct their 
attention to the masters of the nineteenth century. An exacting musician or listener can be fully 
satisfied with a beautiful instrument by Pressenda or Rocca, and there is quite a number of such names. 
If such makes were passed as being those with a more popular name they would enrapture the listener 
even more, for suggestion and illusion play a role which is only too well known. 


This shift in the interest in old instruments is basically correct. It has led to a fair evaluation and 
admiring appreciation of great French masters (N. Lupot, J.B.Vuillaume, etc.) and of other makers, 
among whom the outstanding Czechs, particularly those of Prague, will, we hope, attain the distinc- 
tion they deserve. 

It is impossible to explain the acoustic value of stringed instruments without bringing to mind 
a truism which is nevertheless often overlooked. The instrument does not play itself. What we hear 
is the interplay of the instrument and the performer. The same violin has a different value in different 
hands. Not even a Guarnerius can make good the deficiencies of an unskilful hand and many a great 
artist works miracles on an instrument which is not extremely precious. Although stringed instru- 
ments really gain by playing, especially in that they speak more easily and develop a more supple 
tone — a fact which is no illusion, particularly to the performer — the process of maturing can be 
fairly rapid and may be at its end within a few decades. There is no lack of modern instruments 
acoustically excellent, with a fresh, full, and yet soft tone. 

The acoustic side, however, of these works of art is not the only basis for their evaluation. As 
early as the first half of the seventeenth century, as we know from the correspondence of Galileo Ga- 
lilei, they began to be regarded as works of fine art. The masters of the Brescia school sought, above 
all, a solemn and sonorous tone, whereas in Cremona they put stress on a graceful appearance; the 
sound of the latter was at first somewhat small and more melodious than powerful. Sometimes, prob- 
ably on the demand of customers, the instruments were provided with artistic tarsia adornments. 
The inlaid instruments by Stradivari are famous and we know similar, though less beautiful ones 
by other masters. Such adornment, however, was exceptional. On the whole the Italian masters re- 
mained true to aesthetically sober and functional principles, proving thereby, it would seem, a still 
higher degree of taste. Stress remained on the gracefulness of shapes, beauty of material, careful 
workmanship, and colour appearance. What matters nowadays was also important in the past, viz. 
how much the client would and could pay for the instrument. The reader should look at the old in- 
struments makers realistically, in the social position and circumstances in which they probably had 
to make their living. Very few of them were of patrician origin or well-to-do men. For the most part 
they were humble artisans who were content to work anonymously in what would today be called 
the atelier of a prominent or enterprising master. The number of makers to whom only one or a couple 
of instruments can be attributed is so great that it cannot be always ascribed to price-raising practices, 
although we know that these practices occurred in the seventeenth and eighteenth centuries, some- 
times with the connivance of the makers themselves . Nor could the mortality of fiddles of minor makers 
have been much greater than that of expensive specimens. Some of these artisans probably but seldom 
got an order, and if they did, they had to put up with a low price. The provincial maker had mostly 
provincial customers, communications were slow and Italy was divided into a number of territories. 
The plain appearance and less careful finish of an old instrument does not therefore mean that the 
maker knew no better. Even so, some of these instruments have a wonderful tone. Sometimes one of 
the minor masters suddenly produced an instrument of stunning perfection and there are certainly 
precious specimens in which only the salient traits and finish are the work of the master whose name 
we read inside. 

Sometimes the makers even dispensed with the purfling of the back, since the back is hard, is 
not taken off like the belly and therefore requires strengthening to a lesser degree. Instead of it we 
find two lines branded about the edges by means of hot iron points. The backs of 'cellos even by good 
masters are sometimes made of poplar wood. Both these peculiarities, for instance, characterize cer- 
tain products of the Milanese Testore family, particulary of Paolo Antonio Testore. 

It is the beauty and perfection of the specimen, therefore, which counts most in its evaluation. 


What counts further is the name, state of preservation, and only in the last place the tone. A beauti- 
ful undamaged instrument by a good master nearly always sounds well; moreover, the owner will 
take a liking to it even if its tone is more sweet and harmonious than powerful. The artist appreciates, 
of course, above all, the acoustic qualities, particularly if he is not blessed with earthly possessions. 

The number of factors that must be considered in appraising stringed instrumens as works of 
art is so great that, in the aggregate, the presence of all these factors in a given specimen is sufficent 
to render it rare, even though it is not distinguished by age. 

An instrument lacking good, matured, acoustical wood, or careful, strong, light, correct build, 
may have a nice appearance, but falls short of the requirements of music, particularly on the concert 
platform and in chamber music. None of these conditions is isolated. Much was written once about 
the tuning of the belly and back, that their upper tones should blend harmoniously so as to produce 
that complicated mixture of sounds which combines softness with carrying power, strength with easy 
resonance, song with brilliance, and has in the individual strings the peculiar colour required for 
interpretation. This question remains open and it is not difficult to understand why. It is impossible 
to determine the conditions of vibration on detached parts : they are different in an instrument firmly 
glued together and exposed to the heavy pull of the strings. 

It seems more probable that knowledge gained from constructive statics will throw some light 
on the problem. If we know the coefficient of elasticity of pine and maple wood, the height and shape 
of arching, the strength of pull of the strings and that of the pressure on the bridge, the maximum and 
minimum thickness of the belly and back, we shall perhaps be able to figure out how and where the 
thickness has to be diminished gradually toward the edges. 

Such calculations were actually undertaken about 40 years ago by a member of the Czech Insti- 
tute of Technology; the curves connecting the points of equal thickness were, strange to say, similar 
to those found in Italian masterpieces. In these calculations, however, the basic data had been given 
by practical experience of the makers. Most important was the maximum and minimum thickness of 
belly and back. But this difference varies; it is greater in hard woods, that is, the bellies are more uni- 
form in thickness. For these reasons mathematical computations are by themselves not revealing. 
Moreover, what has been discovered, or rather confirmed, by calculation can be no mechanical guid- 
ance to an experienced instrument maker. In individual cases he alters the models and arching and 
conforms to the inequalities of the material. He feels by means of his tools what sort of material he 
has in his hands. He studies the acoustic materials and knows how much he is allowed to take off in 
order to achieve the best results. He is aware that a thin- profiled instrument has no brilliant prospects 
and that many a good old instrument has been hopelessly spoiled by scraping the plates in order to 
endow them with a "finer" sound. 

Tradition, example and experience guide the violin maker. He can achieve fine results by 
carefully imitating outstanding patterns. We realize that those who did pioneer work in this field 
were endowed with great power of observation and creative genius. It is remarkable that instruments 
by the same distinguished master almost always embody some special quality of their own, i. e. 
the same peculiar colour of the individual strings, even if the model of the sounding body is altered. 
This is true of Stradivari, whose successive models — amatise, allonge, period of glory and that 
of old age — are very similar in tone. It is still more striking with Joseph Guarneri del Gesii, who 
in his early years made daring experiments with the shape of his instruments. We have already 
mentioned the tone of the instruments by the masters of the Amati family, but this applies more or 
less to all superior violin makers, with some exceptions of course, for even they did not succeed in all 
their designs. 

Violin varnish" has been much vsrritten about, and much research has been done in this field. 


The secret of the old Cremona varnish, once apparently prepared of common ingredients and accessible 
even to cabinet makers, seems to have got lost about 1780. After that the varnish deteriorates, perhaps 
for the reason that other kinds dried faster. But some schools, e. g., that of Naples, used a drier, less 
supple, though also fine-looking varnish even before that date. Chemical analyses of varnish, after two 
or more centuries of exposure to air and sunlight, have thrown little light on this matter. Is seems that 
individual violin makers had their own methods of colouring and applying; they used to either combine 
coats of different colours or to choose merely different shades. Sometimes they would add colouring 
matter of a vegetable nature, not, of course, the modern chemical colours of today; at other times 
they shaded off in varying degrees the ground tone, perhaps by boiling the varnish. The Cremona 
varnish is not the only type that stands out singularly. Just as beautiful, although in a different way, 
are the instruments of the Venetian school, the products of the masters of Naples and Turin; even 
those of Milan were not much inferior, although they did not succeed in achieving the same sweet 
golden appearance and fire. Some varnish of the nineteenth century, such as that of Pressenda, Vuil- 
laume, etc., justly arouses admiration in this respect. The old "secret" need not be lost forever; it may 
even be surpassed with modern means. But it is essential to know what is being sought. The ground- 
ing of the famous Italian varnish sank into and united with the wood; this is evident from the fact 
that even in places where it is completely worn off, there remained the coloured ground, which may 
again be brought to a soft lustre by gentle rubbing. The varnish forms with the wood an acoustic 
unity. It never chipped off, but was merely wiped off gradually. It not only protected the wood, 
which, had it not been for the varnish, would have fallen into decay a long time ago, but it also made 
the tone fine and mellow. The ingredients used in the varnish remained as a rule moderately soft. 
The surface in uninjured sections feels smooth as butter, in other places like velvet. Its transparency 
is practically absolute, showing quite clearly all fibres of the grain and the reflexes of the material. 
At the same time it has an apparent depth which seems incredible considering the very thin coat. 
The colours were selected very tastefully, from deep yellow to orange, golden-brown, pinkish brown, 
reaching up to dark red. When light falls upon them, they will scintillate. Originally the colouring of 
the old Italian instruments was more lively than it is today; a little of the colour was taken away by 
the sun and the varnish became somewhat brown. The darkening of the old wood has contributed to 
this change in colour, so that at a distance one always gets the impression of a brownish shade. 

These hues are sometimes as beautiful as those of pictures. Where the upper coats of colouring 
are already worn off, figures have appeared that enhance the beauty of the whole. This "face" of 
old originals (particularly visible in red varnish with underlying golden-yellow ground) has been 
imitated for a long time. But an imitation is always recognizable; a connoisseur discovers even the 
most cunning imitation, if it is not itself old and the work of a maker who almost equals his paragon. 
Real age cannot be imitated even by staining the wood without betraying the fake. Moreover, it is 
known that the surface of old maplewood (on the backs and sides) , may get slightly warped into 
undulations because of shrinking, so that it has an uneven mother-of-pearl appearance. The waves 
follow the curl marked by the structure of the material. As a rule the general impression is enchan- 
ting and utterly different from the flat appearance of "paint" with which cheap new instruments are 

The originals we admire are, it is true, children of the Italian sun. But they are, above all, works 
of patient men. A thing of beauty always requires patience. 

It is incredible how much individuality the old masters were able to embody in every detail, 
although they worked within the scope of their own school and as a rule departed only gradually from 
the patterns on which they based their craftsmanship. Sometimes there are only shades of difference, 
which require a well- trained and experienced eye , but on the whole they almost remind one of a char- 
acteristic handwriting. 


The scroll of the old school of Brescia has half a turn less than the scrolls of a later period. In 
scrolls there is much variety: they may be perfect, but in other cases poor, carved without patience, 
somewhat small in proportion to the whole, narrow or massive, having the axis of symmetry either 
horizontal (when the instrument is held in a vertical position) or somewhat inclined downward, etc. 
Nowadays the best patterns are imitated with an extraordinary precision, and yet the product lacks 
the softness of the old original, which looks almost as if it had grown up organically. Likewise, the 
shape of the sound-holes has become to a great extent stereotyped. These sound-holes are nearly 
always the same accurately redrawn, elegant shapes of the well-known works of Guarneri and Stra- 
divari. But their contemporaries and fellow countrymen always had something new in their shape 
and position and even the slightest modification can be seen and forms a part of their originality. 

The outlines of Italian instruments developed within two generations and attained its peak of 
elegance in the works of those to whom pre-eminence was awarded for other reasons as well. The 
figure of the wood was made use of with refined taste; the backs and sides of better specimens are 
beautifully streaked, broad or narrow flames flash forth from the centre, opalescing when the in- 
strument is moved. In other specimens these flames reach across the whole back, if it is made of one 
piece, and they are often aslant. At times they continue aslant even on the sides, and sometimes — 
particularly in the instruments by some of the Cremona masters — this impression is further increased 
by the fact that the hatching is reversed in the middle bouts. On the other hand it seems that some 
masters, e. g. Goffredo Cappa and his disciples, stressed the design so that it would be horizontal 
when the instrument is held straight up. 

The purfling which lines the edges likewise tells a story. Tommaso Balestrieri, one of the really 
great masters, whose instruments shine both in colour and tone, often failed in this one point. Per- 
haps he was an amateur, or his hand was less sure. The latter is pathetically true of Stradivari him- 
self, when he was ninty-three years old (a violin bearing a label written with his own hand and 
stating his age when the instrument was made, has been preserved) . 

A perfect purfling is almost a matter of course today, the modern purfling is even more accurate 
than that of the old masters, who had to make this part themselves. It consists of three strips glued 
together, the two outer strips being black and the middle one white. But nowadays the production 
looks as though a print had been made, not a manuscript carefully brought into completion. The 
purfling has lost its personal character. 

Less attention is paid by the uninitiated observer to the rounding of the edges and the shape of 
the corners. Such things are, however, very typical, and even good instrument-makers have failed in 
this respect. 

All these individual factors are intermixed in various ways. This brings about a play of art and 
creativeness that is almost as interesting as the study and appreciation of pictures. At times one is 
moved to exclaim, "what a pity that it has not got a better scroll". At another time, "it's a pity that 
the instrument is not broader, what tone that would bring about", etc. 

Another important question that must be considered is the state of preservation of the old origi- 
nals. They have hardly ever been handed down to us in an unchanged state. Pegs, tailpieces, bridges, 
fingerboards, necks are exchanged. Complete originals are great rarities. Stringed instruments of the 
seventeenth and eighteenth centuries had the necks fixed in a straight position— often traces can be 
seen showing how the instrument rocked on its back when it was laid down. An angle was of course 
even then necessary because the finger-board (which was then shorter) and the strings had to slant 
upwards to the bridge (which was low) . This was originally accomplished by a wedge put under the 
fingerboard. Later it was done by tilting back the neck and the head, and today we can hardly 
imagine it otherwise. An original neck is a rare item. It has usually been replaced by a new one, 


because nowadays necks must be longer. This obviously need not be considered a corruption of origin- 
ality. We also know that the old violins were held differently from the manner common nowadays. 
Formerly the player's chin rested on the tailpiece, or even slightly to the right of it, evidence thereof 
being the traces visible on many old violins. Development of new techniques, quick changes of po- 
sition, etc., brought about a change in the manner of holding the violin and inaugurated the use of 
chin-rests, which were originally primitive and did not protect the belly. 

This brief explanation ought to be sufficient to put an end to some popular naiveties. To these 
belong "the tsigane violin, highly improved by playing", for to acquire a rare instrument from such 
a source is about as probable as to buy a thoroughbred horse from the same hands. Because it hap- 
pened that someone had a broken fiddle repaired by a violin maker, which resulted in its having 
a better tone than before, some people concluded that smashing a violin improves the tone. And so 
on. To this same category belongs the scraping out of instruments. It is a pity that such stories still 
have credence and remain in circulation. 

Cracks in the wood are usually due to injuries against which these delicate instruments should 
be carefully protected. However, cracks also appear spontaneously because of age. If they are short, 
small in number and not under the bridge, they can be repaired easily and do not cause any particular 
depreciation of value. The original varnish, however, should be preserved under all conditions. Even 
mere traces of the original varnish are better than retouches. Even a colourless coating is undesirable, 
although at times unavoidable because of repairs. It corrupts the original structure of the surface, 
which may be evidence of originality, and in addition, grows more characteristic with the patina 
of age. 

Interferences of this kind, although unnoticeable by daylight, may be detected by ultraviolet 
rays. These rays also accelerate the maturation of the wood. However, an old instrument cannot 
endure such experimentation, and woe to the owner of a modern one who subjects it to such abuse. 
It will crack all over, the reaction being violent. It may be worth while trying when using unfinished 
wood — but everything in moderation. 

We have already said that from the musical point of view the old instruments can be equalled. 
Coming centuries will bring to light new values and it is possible that some day a further change 
in musical demands will bring about greater power or a different colour of tone. For instruments 
are intimately connected with the development of music. There have been changes in tuning, which 
is much higher now than it used to be. The original makers would undoubtedly shake their heads 
at the high-pitched, "piercing" tone and at all that a virtuoso demands of his fiddle today. 

Within the limits of these new developments and the predilections connected with them we 
are still conservative. Violin making is no field for new inventions, on the one hand because the 
visual impression of a differently constructed body is different — usually inferior — and on the other 
because we feel that it sounds "different to a violin". If the time comes, however, when new qualities 
will be required, masters will arise to meet that demand. At the present time imitation, perhaps 
a little biased, prevails and there are too many of those ever-recurring patterns of Stradivari and 

A genuine work of art created by a craftsman must be internally homogeneous. It is impossible 
to use formal elements which do not belong together. Those who are able to look at instruments 
with a loving eye — and this is what as a rule musicians do— will also appreciate the harmony of the 
whole. It may not always be perfect. How to look at it and to judge it will be explained in detail by 
Mr. Jalovec* 

* Pronounce Yalovets. 




This book does not deal only with violin makers, although, we admit, they are more in the spot- 
light than makers of the lutes, guitars, mandolins and other instruments of the kind, who are also 
included. It is difficult to find a comprehensive title for a work of this kind. The title Violin Makers 
is too narrow; expressions like "makers of stringed instruments played with the bow" are not nice; 
and it would go too far to speak of stringed instruments in general, for we do not include harps, 
pianos and the like. The Italian word liutajo and the French luthier would do, for they include the 
violin makers, but other languages use the corresponding words in a less ancient and more accurate 
sense. The title Lute and Violin Makers might be the most pardonable of all combinations. Both 
words must, however, be taken in a broader meaning, the first including producers of lutes, guitars 
and mandolins, the second makers of violins, violas, 'cellos and contrabasses, in both cases with 
occasional glances at instruments which have gone out of use. 

The origins of the most important stringed instrument played with the bow, the violin, are 
wrapped in darkness. We only know for certain that it developed out of the viola. The latter had been 
in use for a considerable time before and though it was in many ways more primitive and of a very 
variable size, it did not differ essentially from its present form and was tuned as it is now, though to 
a much lower pitch. As early as 1449 Giovanni Kerlino is said to have built violas not only with 
a bridge, but with an arched belly, and about 1 500 Pietro Dardelli of Mantua, a contemporary of 
Leonardo da Vinci, built violas convex on both sides. Half a century later the treble viol, tuned in 
fifth, but a quint higher, made its appearance — the violin. Many conjectures have been made con- 
cerning the inventor: authors of three nations have tried to confer the honour on this or that of their 
countrymen. It seems, however, probable that it was developed gradually and in a groping way, in 
obvious co-operation with and at the behest of musicians. There was growing demand for an instru- 
ment with a soprano voice, whereas the viola da braccio (i. e. held in hand and under the chin, not 
between the knees like the viola da gamba) represented the alto, and quite successfully at that. 

The crescent-like soundholes of violas from the previous period appear definitely changed into 
their present /-like shape in the works of Gasparo Bertolotti, known as Caspar o da Said who was 
born in 1542 at Said on Lake Garda and worked in Brescia where he died in 1609. He also adopted 
the arching introduced by his predecessors. The most remarkable feat of Gasparo da Said was not 
the "invention" of the violin, but the fact that it sounded so well. His violins were less refined 
in appearance than the works of the Cremona masters who began to appear practically in the 
same generation, but a century later, when the development of music and performances in churches 
and larger halls called for a more voluminous tone, the leading masters of the craft began to wind 
their way back to Gasparo da Salo and the other great Brescians in order to find a synthesis of the 
melodious sweetness — the ideal of the Cremonese Amatis and Jacob Stainer — with their powerful 
carrying tone. The true miracle of the invention lies in the fact that the viola and violin have not 
been changed in any essential way since the time of Gasparo da Salo and G. P. Maggini. Master- 
pieces of later origin are more elegant, more carefully finished than the fiddles they could produce 
(and sell) , but as regards the tone the Brescians have set one of the chief standards of beauty and 


Few ingenious creations, if any, have withstood the impact of innovations so steadfastly as the 
viohn. And yet musicians and experts insist that it was due to their intrinsic worth; they are by 
no means conservative with regard to many other instruments. To the uninitiated the importance 
ascribed in this work to slight differences in arching, to the position of the sound-holes and the bridge 
and similar trifles may appear all but ridiculous. But violins, although they differ quite visibly in 
outlines, sound-holes, scrolls and colours, differ very little in build. Thicknesses vary but slightly 
— a trifle less and the results may be distressing. Certain proportions, expressible, as we are con- 
vinced, in numerical relations, appear to have been an iron rule, at least in genuine Italian fiddles. 

Of course, it has not been possible to preserve them in their original condition, even if they 
had the good (and rare) luck to be in the hands of people endowed with due respect for originality. 
The development of violin play has necessitated longer necks tilted back the way we are now familiar 
with, higher bridges, chin-rests etc. Most important is the distance from the middle of the soundholes 
to the upper end of the belly (or of the length of strings to the total length of the body of the instru- 
ment). The former proportion seems to be set "for good" and without it no artist today can handle 
his instrument with assurance. Inside the instruments of the violin family only the bass-bar has been 
almost always replaced by a stronger one. All other alterations are detrimental, to old instruments 
always, to new ones usually. 

Several schools have successively or simultaneously held sway in Italy. They have their char- 
acteristics, but individual masters, especially the great ones, did not hesitate to borrow this or that 
particular they liked from other quarters. There was plenty of emulation among the leaders of the 
craft, but no mechanical imitation. 

The school of Brescia, headed by Gasparo da Said and G. P. Maggini, built instruments which 
are characterized by relatively low, but broad, archings which reach almost to the edges. They form 
low convex curves in all directions. The corners are short and mostly rather pointed. The purfling is 
often double and sometimes forms, particularly at a later period, interlaced ornaments on the back. 
The sides are low; the scroll, which looks old-fashioned, has half a turn less than the scrolls of later 
schools. Sometimes the instruments have instead of a scroll a carved human or animal head. The 
wide-open sound-holes are in an almost upright position, practically parallel, in other specimens 
sharply inclined; their upper and lower openings are of the same diameter. The belly has regular 
grain, the bass-bar often forms one piece with the belly. The back is usually carved out of one slab of 
wood taken from the outside of a maple-tree and is as a rule without curl. The Brescia makers made 
the backs, sides and scrolls of their instruments also of other kinds of wood. 

They used a varnish ranging from dark yellow to dark brown. They applied it in rather thick 
coats and it is not so transparent as the Cremonese. 

The tone of these instruments is sonorous; the violins sound on the D and G strings a little like 
violas. The violas and contrabasses are often superior to the violins and particularly to the 'cellos. 
Originally these instruments were rather thick in wood and many specimens have been spoiled by 
scraping out in the hope that they would get a "finer" tone. 

The Brescian school flourished in the years 1558 — 1620. 

From 1560 to c. 1740 the Cremona school was at its best and at the head of the Italian violin- 
craft. The founder of this school was Andrea Amati who was long considered as a disciple of Gasparo 
da Salo. His father Gotardo, who died in 1553, seems to have been a lute maker — he was called 
Maestro Gotardo Amati. But Andrea, although probably apprenticed by his father and without being 
a direct pupil of Gasparo da Salo, turned towards violin making. However, with regard to tone, he 
followed another ideal then popular in higher circles. According to another version he was pupil of 
a Marco del Busetto who lived in Cremona from 1540 to 1580. But this is improbable, for Andrea 
Amati was an independent craftsman as early as 1546. 


The Cremona school gave to the world masters unsurpassed to this day. It is, however, not 
sharply circumscribed. This is due partly to its very excellence, for it inspired imitation. It is con- 
sequently not easy to formulate the criteria of the Cremonese style. A number of outstanding masters 
who belong to the school lived outside Cremona, others, like Alessandro Gagliano, started in Cre- 
mona and founded a new school elsewhere; after Lorenzo Storioni, roughly since the end of the 18th 
century, even very good masters in Cremona were mere followers. Nor does meticulous copying con- 
stitute a Cremonese trait, not to speak of later imitations — their number has been mounting for over 
a century and they may by as soul-less as cheap prints. 

The masters of Cremona worked very carefully. The instruments have graceful outlines, the 
corners rather protruding, but rounded off with fine taste; the edges have a profile regularly executed 
all the way around the instrument. The Amatis and other early masters took the arching rather 
high and roof-like, i.e., flat (even slightly hollow) near the edges and rising rather suddenly towards 
the middle line. Later the instruments become flatter, the construction perceptibly stronger. The 
scrolls, at first somewhat small, since Stradivari larger, but not massive, are never standardized. The 
sound-holes have the upper openings smaller than the lower ones. The back of a 'cello or contrabass 
may be of poplar wood, but even here maple is the rule and the smaller instruments are always made 
of light regular pinewood and carefully selected maplewood, the latter as a rule with beautiful curl 

The varnish of the true Cremonese masters is supple, soft and persistent at the same time, trans- 
parent, underneath yellow and variously coloured in hues ranging from bright yellow which suggests 
the idea of liquid gold, to amber-yellow and orange and again from pale red to deep red; transitions 
and mixtures of these tints occur in the works of the same makers; only neutral brown is seldom 
found. The varnish is carefully applied in thin coats. When pressed with a warm finger for some 
time, it retains a trace which then slowly disappe ars by itself. And it can never be rubbed off entirely, 
for the grounding is united with the wood and some of its lustre can be even then renewed by careful 
rubbing (not without some oil) . 

The schools of Naples and Milan represent transitions between the former two. They produced 
finer instruments than the Brescian makers, but did not reach the Cremona level. The masters of 
Naples generally followed some of the later models of Stradivari, while the Milanese leaned towards 
the Guarneri patterns. Low archings are the rule. The Neapolitan makers used a varnish which has 
sometimes a magnificent appearance, but is less supple and slightly inferior to that of Cremona. 

These two schools flourished for a long time, from c. 1680 to 1800. 

The schools of Florence, Rome and Bologna were less creative; they borrowed traits from other, 
even from Tyrolese masters, altered the archings, not always in an elegant manner; their sound-holes 
are less ornamental, especially if they cut across a suddenly rising arching and appear too open. Most 
masters in Rome adopted Jacob Stainer's shape of sound-holes, short and with circular ends. The 
makers of Bologna at first followed the Cremona masters, then reverted to Brescian examples. They 
employed a yellow or brown, exceptionally also dark-red varnish. In composition the varnish of all 
these schools is almost as good as that of Cremona, but it deteriorates after 1760, for these cities had 
their best violin makers from 1680 to c. 1760. 

The school of Venice flourished from 1690 to 1764. In the 17th century it was even superior 
to the Brescian school. Venice, a sea port, was frequented by foreigners; it had favourable conditions 
for sale and special orders; there are consequently specimens from Venice which almost equal those 
of the best Cremonese masters. At first the craftsmen of Venice followed the larger patterns of Nic. 
Amati, making the well-designed sound-holes slightly shorter; later they lowered the archings accord- 
ing to the models of Stradivari and of the members of the Guarneri family, one of whom lived and 
died in the city. 


Besides these schools there were masters who cannot be simply assigned to any of them and are 
sometimes not only individual, but really outstanding. On the other hand there were places where 
one finds quite interesting blends of styles. This is true e. g. of Gof fredo Cappa and his pupils in Saluzzo 
and Turin. Turin was at times a famous centre of violin making, for several Cremonese masters 
established themselves in the city and even in the first half of the 19th century F. Pressenda and his 
school almost revived the glory of the preceding century. In Pisa, Livorno (Leghorn) , Genua, Pia- 
cenza and several other towns one comes across makers in whom fluctuating influences almost obliter- 
ated each other. Much of this blending must be attributed to the migrations of makers from different 
parts of Italy. 

Italian violin making flourished for almost 250 years. After 1850 it was almost extinct and 
before it took a new breath, Italy, the cradle of the famous craft, depended on the importation of 
instruments from abroad. 

Some information concerning the materials employed in violin making may be useful. The bel- 
lies are made of pine or fir wood with grain of varying breadth, but it is seldom excessively close 
in genuine Italian violins. The backs, sides, necks and scrolls are mostly, not always, of maplewood. 
The best pine and maplewood came from the southern slopes of the Alps, from present-day You- 
goslavia and the eastern Carpathians. The Brescian makers nearly always used maple wood cut on 
the slab, i. e. from outside planks. Later the makers proceeded toward the middle of the trunk and 
finally they made, of course not always, the backs from wedges reaching to the middle. 

Wood from outside planks is plain, without curl, further inside figures begin to appsar, first 
in concentric lines (fig. 1), then in the form of curl which then reaches right across the instrument, 
either horizontally or in a slanting direction (fig. 2) . Backs made from wedges (generally in two 
pieces) show clear ' flames" which seem to be moving when we incline the instrument. These can be 
arranged horizontally (fig. 3) or in a roof (fig. 4) or reversely (fig. 5). Wood from near the roots 
of the tree has a marble-like appearance (fig. 6) . So called bird's eye maple (fig. 7) , popular beyond 
the Alps, was seldom used in Italy. There are. of course, instruments with combined figures, the 
upper part striped, the lower part marbled etc. It is difficult to state the time when the makers de- 
parted from outside slabs. Much depended on the material at hand and even when the latter two 
ways began to predominate, makers sometimes reverted to plain slabs which were cheaper. On the 
other hand Stradivari used the combination method as early as 1690. From the very beginning of 
the 17th century there are Amati instruments with a fine curl. The sides and head should be, and 
in better instruments generally are, of the same wood as the back. 

If you have a fine instrument of the violin family, keep it clean and have it cleaned from time 
to time, not too often. Do not gather experience with bridges and the soundpost at the expense of 
your fiddle. Have these delicate operations always made by an expert — very much depends on it, 
including "your tone", if you are an artist. And bear in mind that lack of knowledge has only too 
often led to financial losses when instruments were bought from unscrupulous persons. 

Many inquiries are made concerning the varnish of the classical instruments. To see miracles 
in the composition of the old Italian varnish is erroneous. It was actually superseded by other com- 
positions some time before the end of the eighteenth century, but some modern masters equal the old 
ones in this respect. Impatience with the length of the drying period may have been one of the chief 
reasons of deterioration. But violin varnish is basically more a question of taste, patience and care- 
ful execution than a secret. Since it is going to be dealt with in a special booklet, we limit out remarks 
to a few essentials. 

Before applying the varnish it is necessary to clean the instrument of the remainders of glass- 
paper, dust and stains; impurities in the air are also harmful. The pores of the wood must then be 








filled with a suitable substance able to yield to the vibrations, to prevent resins from sinking into 
the wood and to unite the varnish with the grounding. If this is done effectually, the problem is all 
but solved. But it should be borne in mind that the ingredients themselves should be of a kind which 
never hardens too much. For this reason shellac is not to be recommended. Before applying each 
additional coating the surface should be well polished. If these rules are observed, the solvent is not 
of paramount importance; all solvents must evaporate or oxydize sooner or later. But alcohol varnish, 
having the tendency to eat into a softer ground, leads to the use of harder ingredients and to hasty 
work: both influences combine to produce a dry, too compact, even glassy surface and may have 
a bad effect on tone. Varnish with linseed oil dries very slowly and must not be too fat, but a number 
of volatile oils can also be used as solvents. A varnish which does not thicken under the brush can 
be spread without haste, more thinly and evenly, which afterwards aids refraction and adds to the 
fire of the varnish. A new instrument treated in this manner has a strong lustre which softens in 
the course of time, but can be revived to a certain extent by cleaning and gentle rubbing. Also 
the colours get subdued; if this is imitated when the instruments are new, they may have too little 
colour to start with. Insofar as the choice and order of the coloured layers are concerned, it is a matter 
of personal taste and tradition. The old masters apparently had many individual methods. Only 
colours of vegetable origin should be used, no aniline dyes. 

About twenty years ago attention was drawn, e. g. by Dr. P. W. Philipp in Dobeln, in a review 
for beekeepers, to the propolis or bee-glue, a substance with which bees stop crevices in the hives, 
fix and protect the honeycombs. The discovery was not new. Properly dissolved — the methods 
have yet to be studied — it possesses all the required qualities and has a pleasing golden-yellow hue. 
The shades depend largely on the treatment and vary without addition of colours, but the propolis 
blends with colouring ingredients very well. It can be given various degrees of consistency for which 
reason it is admirably suited to form a gradual transition from the grounding to the upper coatings. 
We share the opinion that it was widely in use in Italy for over three centuries, and not only by in- 
strument-makers, since it is very common. 

The literature on our subject is copious and of unequal value. Some publications repeat what 
has been published before. Original and very valuable are the works of the Hill Brothers of London: 
WilUam Ebsworth Hill: Antonio Stradivari, 1907; W. H. Hill, A. F. Hill, and W. E. Hill: Antonio 
Stradivari, 1922; The Makers of the Guarneri Family, 1931; all these works are written with the 
responsibility of first-class experts. Of permanent value is the great work of Louis A. Vidal, Les 
instruments a archet, les faiseurs, les joueurs d' instruments, leur histoire sur le continent europeen, 
suivi d'un catalogue general de la musique de chambre (3 vols. 1876 — 78). 

The large work in two volumes Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegen- 
wart by F. L. von Liittgendorff was compiled with the help of several violin makers and experts, 
which increases its value. Liittgendorff himself has done a great deal of original research, especially 
about the German makers, but some of his information concerning Italian and other masters must 
nowadays be revised. 

To these important works one must add the interesting volume by Friedr. Hamma, the Stuttgart 
violin-dealer and maker, which contains very good pictures, but little reading, and deals chiefly with 
Italian masters. The small book by F. Farga, provided with photographs by the violin maker Hugo, 
is not complete. The Dictionnaire universel des Luthiers by Rene Vannes is at its best where it 
deals with the Italian and French makers, includes contemporary ones, but contains errors else- 
where, e. g. where Czechs and other Mid- Europeans are concerned. A similar older Dictionnaire des 
Luthiers by Henri Poidras falls short of the preceding works both in text and illustrations. Apart 
from the above-named we have used a number of other sources, e. g. a Czech book on the technology 


of wood by J. Antos; A. Bagatella: Regeln zur Verfertigung von Violinen (transl. from Italian — see 
Bagatella); J. J. Baumann (a Czech book on the vioUn and its construction); F. J. Fetis: Ant. 
Stradivari, luthier celebre; Fetis — Gallay: Stradivarius; Hill and Sons: The Salabue Violin — Le 
Messie; G. Kinsky: Musikhistorisches Museum von W. Heyer in Koln; O. Mockel: Die Kunst des 
Geigenbaues; J. Mafak: (a Czech book The Violin and its Construction); A. Fuchs: Streichin- 
strumenten-Taxe; Paul de Witt: Geigenzettel alter Meister; finally a number of smaller publications, 
some magazines and catalogues. The Chicago firm Lewis and Sons has published two books by 
E. N. Doring: How many Strads? and The Violin Makers of the Guadagnini Family. We do not 
know them, but are using this opportunity to call attention to them. 

This author has been gathering information and first-hand experience concerning violin makers 
for almost thirty years. His work on the makers who lived on the territory of present-day Cze- 
choslovakia, which he takes the liberty herewith to announce, has had predecessors. Mr. Lev Kus, 
a thorough student of music and its history, intended to publish a book on the Czech violin makers, 
but he died prematurely during the German occupation. Some of his fine photographs could be 
utilized; they were put at our disposal by the courtesy of his widow. The violin maker E. E. Ho- 
molka, who had had the same intention, also died, in 1928, before he could finish his work. Much 
of it had to be done anew and much had been left that was unexplored. 

As far as this volume on the Italian masters is concerned, we hesitated a long time and originally 
intended to publish it in Czech only. It appeared, however, in Czech and English and the idea has 
proved to be a lucky one. It sold well and the response was favourable despite the deficiencies of the 
first edition of which we are only too conscious. 

This second edition is considerably enlarged and thoroughly revised. It will appear in separate 
English and German versions. 

May it attain its modest goal. But above all we should appreciate the cooperation of other ex- 
perts. We have done our best to study as many instruments as was humanly possible in our circum- 
stances, but others, who have been more fortunate in some respect or other, might send in their con- 
tributions, photographs of guaranteed specimens, and their critical remarks to our statements. Joint 
authorship seems to us to be the only way to a really authoritative work; one man's efforts do not 
suffice. It would be an honour to us to see other names join that of this author, should a new edition, 
or a supplement to this volume, come under consideration. 

The prices given are to be taken as mere hints; since they are outdated, they should be adapted with 
regard to the present conditions, at the rate of about Kc 200 to the £. Violas are cheaper than violins, 
'cellos more expensive. All other conditions and qualities being similar, the ratio is roughly 2:3:5. 
Where we say that the 'celli of a certain master are more valuable than his violins, it means that they 
exceed this normal ratio. Exceptionally beautiful instruments in a perfect state of preservation fetch, 
of course, exceptional prices. On the other hand, prices of instruments which have grown too old- 
many of them of Brescian origin — are sinking, unless they reach collectors' and museum prices, in 
which case the reverse is true. 

The readers will notice that we are often reserved in assessing the respective merits of violin 
makers, especially the modern ones. Many of them have yet to prove their mettle and all modern 
instruments must stand the test of time. We are slow to leave the ground of direct experience, but 
each individual experience is necessarily limited and one must rely on authorities. We do so when 
it can be reasonably supposed that the authors did not pretend to know more than they could answer 
for. The dates indicate the actual length of life only, if it is expressly stated; otherwise they indicate 
the years when the person was already and still alive; they refer to the productive years, or to the 
years from which genuine, or at least guaranteed instruments have come down to us, or the 


approximate time. If only one or two definite years are given, they refer to isolated labelled 
instruments know to exist, which is surprisingly often the case — we have already touched upon this 
point. Experts who agree with these principles are requested to keep their own notes for private or 
public use. We hope they will be charitable, if they feel obliged to correct some error of ours. 

Abbate Alessandro, Naples 1890 — 99. Son and prob- 
ably also pupil of Alfonso Abbate; mandolin -pro- 

Abbate Alfonso, Naples, ca 1845. Violin maker; but 
devoted himself more to the making of lutes and 

Abbate Luigi, Naples, ca 1860. Son, disciple and suc- 
cessor of Alfonso Abbate. 

Abbati Giambattista, Modena, 1755—1795. Disciple of 
Antonio Cassini: worked on the latter's high model. 
There are known, however, works of lower arching, 
too, in the style of Amati and the older instruments 
of Stradivari. He worked conscientiously and genuine 
instruments are beautiful. Although he made besides 
violins also 'cellos, violas and contrabasses of strong 
build, there are but few of those instruments left. All 
possess a good tone; particularly his contrabasses are 
of excellent quality. 

Hamma valued a violin by Abbati at 25.000 to 
35.000 Kcs. 

Accardi Antonio, Rome. Died 1900. 

Acevo (Acero?) Saluzzo, allegedly born at Cremona. 
(1620 - 1690 ). According to R. Vannes the very name 
rests on a misunderstanding which gave rise to fic- 
titious labels and fakes. 

Adam Abele, Turin about 1712, made various instru- 
ments, even spinets. Violins etc. bearing his name 
come almost certainly from various makers, so dif- 
ferent are they in character and quality. 

Adani Pancrazio, Modena, 1770—1830. Made violins 
and 'celli on Stradivari's model. He worked con- 
scientiously; the wood is of medium quality. His pur- 
flings are of outstanding beauty. The instruments 
sound well. Price valued by Hamma at 25.000 Kc., 
'cellos even more. 

Agostinelli Luigi b. in Gubbio (Perugia) Jan. 26, 1891, 
established himself as violin maker at Torre Pellice 
near Turin (since 1944). 

Agostini Sante, Palermo, 1822. Little known as violin 
maker, but renowned for his repairs. 

Agostino Nicolo, Palermo. Violin and lute maker of the 
19th century. 

Aiodante Nero, Asti, after the middle of the 19th cen- 

tury was a direct pupil of Gianfrancesco Pressenda 
in Turin. Besides labels branded initials N. A. 

Airaghi Cesare, Milan. 1883. Violin maker of high 

Alagio Niccolo, Lauria (Potenza). Born May 11, 1879 
in Lauria Superiore, was a self-taught violin maker, 
but won distinction at expositions with instruments 
of an individual model. Oil varnish of brick-red 
colour. Good repairer. 

Aisele Michel, Brescia, see Eisele Michel. 

Albanesi Sebastiano, Cremona, 1720—1744. Disciple 
of Carlo Bergonzi. Although his instruments are 
made of fine wood, their finish is less good: they are 
valued for their good tone, but do not stand compa- 
rison with the work of his master. He rather worked 
in the style of the Milanese school, but applied the 
same varnish as the masters of Cremona. His instru- 
ments have a low arching. 

The prices of his violins fluctuate between 12.000 to 
16.000 Kcs. 

Albani Filippo, Bologna, 1773. — Instruments by him 
are not known. There exists but a label. 

Albani Giuseppe, Milan. 1701. Son and probably also 
pupil of Matthias Albani of Bolzano (Tyrolese 
school). At the age of 21 he worked in Italy; em- 
ployed German and Italian labels. His golden-yellow 
varnish is of good quality. 

Albani Leopoldo, Ancona. 1883. Violin maker who de- 
voted most of his time to repairs of old instruments. 

Albani Leopoldo restauro 
in Ancona 27 decembre 1883. 

Albani Michele, Palermo, 18th century. Son of Paolo 
Albani. Little known, violin maker. 

Albani Nicolo, Mantua, Milan. 1763—1770. He imit- 
ated Tommaso Balestriri's large, broad and flat pat- 
tern. The belly is wide-grained; the sound-holes are 
cut after Stainer's fashion. He applied a beautiful, 
predominantly deep-red varnish. The tone is good 
and strong. The price amounts to 40.000 Kcs and 

more. .,. , ,,, . 

Nicolas Albani 

fecit Mantua 1763. 

Albani Paolo, Palermo, Rome, Cremona. 1630—1695. 
He was a disciple of Nic. Amati and worked on the 

Names beginning with Da, Dall', De, Di (not, however, those followed by d', de) come under D. 


latter's "grand pattern". His work is good, the tone 
fine and powerful. Red varnish. Price of violin 25 to 
30.000 Kc. 

A/^?er/j Adalberto, Pavia (1920). 

Alberti Ferdinando, Milan 1730— 1769. Disciple of Nic. 
Amati. His workmanship reminds of that of Giov. 
Bapt. Grancino, after whose death he took over the 
workshop and trade-mark (a crown — Segno della 
Corona). Some of his instruments are quite good, 
made of fine wood, well built on a large model. He 
applied good yellow, red-yellow, and red varnish. 
The scrolls are large, flat, their cut is not bad. The 
instruments sound well. 

Price of violins 15 — 20.000 Kcs, outstanding speci- 
mens more. 

Alberti Giorgio, Rome. Died in 1624. Son and perhaps 
pupil of Pietro Alberto. 

Alberti Giovanni (I), Rome. Died 1600. Little is known 
about him and other bearers of the name, their works 
having probably been provided with faked labels of 
better known masters. 

Alberti Giovanni Giorgio, Rome, died 1617. 

Alberti Guglielmo, Arezzo (1877). 

Guglielmo Alberti 
fece Arezzo Anno 18 . . 

Albertini Carlo, Milan, b. 1866, d. 1940. Only guitars 
and mandolins with his name are known. 

Albertis Peter de, called Pietro Alberto, Rome. 1578 
— 1598. Lute maker, known only from labels which 
have survived their instruments. 

Petrus Albertus 
faciebat R. 

Petrus Albertus 

Alberto Andrea di, Rome 1608, d. 1649. Lived in the 
street Via dei Liutari. Otherwise unknown. 

Albinus. Ancient lute maker of the 14th century. Mere 

Aldovrandi Emilio, Bologna. 1850—1882. Maker of 
mediocre skill: for the most part he occupied him- 
self with repairs. 

Alessandro surnamed "ilVeneziano", Venice ca 1540. 
Of his instruments only one viola survives today; 
a lute of his making was exhibited at Turin in 1880. 

Allegretti Massimiliano (surnamed Monferino), So- 
hera (Modena). 1873— 1883. Assiduous violin maker 
whose instruments are of medium quality. 

Allegri Giovanni, Milan. 1714. Little known, though 
the few specimens extant are said to be excellent. 

Allessandroni Paolo, Rome 1850, 1860. Little known. 

Aloy Dario, born in Rome Nov. 16, 1902, was a violin 
virtuoso and amateur violin maker. 

Alvani Paolo, Cremona. 1750—1755. Perhaps a son 
or grandson of Paolo Albani. He imitated Giuseppe 

Guarneri and Amati, used beautiful wood and a fine 
yellow varnish. 
Amaglioni. 19 . . Reported to have worked on the Stra- 
divari model. Otherwise little known. 

Genealogy of the Amati family 

Maestro Gotardo Amati 
d. ca 1553 

Andrea Amati 
b. 1535 
d. 1611 

Antonio Amati 

b. 1555—1560 

d. ca 1640 

Hieronymus I. Amati 

b. ca 1556 

d. 2. 11. 1630 

Nicolo Amati 
b. 3. 12. 1596 
d. 12. 4. 1684 

D. Nicolo Amati (?) Hieronymus II. Amati 
1731 b. Feb. 26. 1649 

d. Feb. 21. 1740 

Amati Andrea, Cremona. Born about 1535, died after 

Reportedly a disciple of Gasparo da Salo. He 
married at the age of 19 in the year 1554. By his 
first wife he had three children; Antonio, Girolamo 
(Hieronymus L) — the name of the third child is 
unknown. Both his sons became violin makers and 
worked jointly with their father. After 1601 the in- 
struments bear the names of his sons. He is con- 
sidered as one of the founders of the Cremona 

The belly is of pine-wood with close grain, the 
sound-holes are medium-sized, open, in a vertical 
position, gracefully cut, with a shape only slightly 
reminding of Gasp, da Salo. The upper parts of the 
sound-holes are at a distance of 38 mm. from each 
other. The arching of the belly is of the same height 
as the model of Gasparo da Salo, i. e. 16 mm. The 
purfling is wide and executed in a masterly manner. 
The back is usually made of maple-wood, sometimes 
of platan or pear-wood. The arching of the back is 
14 mm. high. The sides are always of maple wood, 
28—30 mm. high, the scroll also of maple wood, 
rather large, gracefully cut. 

Andrea Amati built violins in various sizes, in 
most instances, however, of rather small pattern. He 
used to apply, in strong coats and most carefully, 
a golden-brown, golden-yellow or amber varnish. 
The tone of his instruments is wonderful, but not 
strong; Hamma calls it hard. For the king of France, 
Charles IX, he made 12 violins on the small, 12 
violins on the large model, 6 violas, and 8 contra- 


His instruments are rare relics, worth 200.000 Kc, 
and more. The firm of Hamma & Co. of Stuttgart 
bought one of his violins in Southern France c. 1880 
at the price of 30.000 M. 

Dimensions of violins 

and 'celli Violin Violin 'Cello 

Length of belly and back 353 353 730 mm 

Upper width 164 163 340 mm 

Middle width 106 — 230 mm 

Lower width 197 202 430 mm 

Top sides — 29 120 mm 

Bottom sides — 30 120 mm 

Length of sound-holes — — 140 mm 

Andrea Amati in 
Cremona MDLXXII 

Andrea Amati Cremonensis fecit anno 1546 


FE . . . I C A . N C . 

AN . . 1555 

(ANdrea AMAti FEce dl CremonA iN CremonA 
ANno 1555) 

Amati Antonio, Cremona. Born about 1555, died 1640. 
Elder son of Andrea Amati, and his disciple. He 
worked jointly with his father and brother. After 
his brother's death (i. e. 1630) he marked the in- 
struments with his own name only. His instruments 
have a rather high arching, with slim, narrow sound- 
holes. He used a cherry-red varnish, later a varnish 
of a fine orange or golden-yellow colour. (See Amati 
Antonius and Hieronymus.) 

For the court-orchestra of Henry IV, king of France, 
he made fine instruments of small pattern. 

Amati D. Nicolaus, Bologna (1723 — 1737). A monk 
and amateur. Little known. Price 30.000 Kc. 

D. Nicolaus Amati 

Fecit Bononiae Apud 

SS. Cosma, et Damiani m. 

Amati Francesco, Cremona, 1640. Almost unknown. 
In the cloister of Kremsmiinster there is a violin 
of the year 1640 with the label: 

Francesco Amati in Cremona. 

Amati Hieronymus (I), Cremona. Born about 1556, 
died Nov. 2, 1630. Younger son of Andrea Amati. 
He worked in company with his brother Antonio 
and was more skilled than the latter. His instru- 
ments are of outstanding qualities both in finish and 
in tone (see Amati Antonius and Hieronymus). 

Amati Hieronymus (II) Cremona. Born Feb. 26, 1649, 
d. Feb. 21, 1740. Son and pupil of Nicolo Amati. 
According to Hill Bros, he was a very outstanding 
artist who worked according to his father's style, 
but his violins are of a larger size. Many instru- 
ments of his making bear the label of his father, 

others seem to have been "rechristened" for still 
greater names (perhaps even Stradivari). Price of 
violin 60.000 Kc. Rare. 

Hieronimus Amati Cremonensis 
Fecit Anno Salutis 1697 

Am,ati Antonius and Hieronymus, Cremona. 1555 — 
1630. Name of the common workshop of the two 
sons, disciples and collaborators of Andrea Amati 
After their father's death, they worked and labelled 
their instruments jointly until the death of Hiero- 
nymus. Antonio is said not to have worked with such 
a light touch as Hieronymus. Nevertheless, their 
creations are so alike that it is almost impossible 
to tell them apart. They worked on their father's 
pattern which they adapted and perfected. 

Lower arching and the improved shape are evid- 
ence of the two brothers' ingenuity. They used well 
seasoned maple-wood with small curl and old pine- 
wood. The back is often made of one piece, the pur- 
fling wonderfully finished, reaching almost to the 
ends of the corners. The edges are rounded off in a 
handsome and uniform way, the scrolls wonderfully 
carved and elegant. They used a fine varnish of 
yellow, yellow-red, golden-red and amber colour. 
The varnish is applied in a masterly way, is trans- 
parent and possesses a wonderful lustre. The instru- 
ments sound very well, the softness of tone is mar- 
vellous. The harmonics, natural as well as artificial, 
give a pure and clear sound. Best sound the strings 
E, A, D, whereas the G-string does not possess the 
desirable timbre. The violins are not so well fit for 
concert halls as the 'celli and violas which have great 
carrying power and speak easily. 

A violin made in the year 1626 measures as fol- 
lows: length 352, upper width 165, centre width 109, 
lower width 207, height of top sides 28, bottom sides 
30, length of sound-holes 74, length of scroll 102 mm. 
For comparison we give the dimensions of other 


Width Sides 

Length upper lower upper lower 

Viohn 352 165 207 28 30 

Violin 350 165 205 27 29 

Viola 450 220 268 39 41 

Viola 411 197 247 33 34 

'Cello 752 330 450 118 118 
Price 150.000 Kc and more. 

Antonius & Hieronymus Fr. Amati 
Cremonen Andreae fil. F. 1630 

Antonius & Hieronym. Fr. Amati 
Cremonen. Andreae Al. F. 1630 

Antonius & Hieronimus Fr. 
Amati Cremonen Andreae F. 16 . . 


Amati Nicolaus, Cremona. Born Dec. 3, 1596, died 
Apr. 12, 1684. Son and disciple of Girolamo Amati (I). 
He worked at first on the model of his father; besides 
violins he made violas, 'celli, contrabasses, and bass- 
viols. The most outstanding master of the family. He 
had 9 children of whom only Girolamo H became 
a violin maker. 

The elegant shape of all his instruments gives 
proof of this great master's skill. The scroll, of the 
peculiar Amati type, is sometimes (not always), large 
in size, beautifully cut. The purfling is executed in 
a delicate way. The sound-holes are tastefully cut 
and enhance the beauty of the instrument. He used 
a brilliant varnish in shades from yellow-brown 
to golden-red. Excellent is his so-called "grand pat- 
tern", a number of violins which are excellent con- 
cert instruments with a tone of great carrying power. 
The 'cellos were built by him in two sizes; their 
tone is magnificent. One fine cello with a beautiful 
tone has the following dimensions: Length 730, lower 
width 440, upper width 360, centre width 250, sides 
120, scroll 200, sound-holes 130 mm long: yellow- 
golden varnish. 

Amati instruments were valued, in 1930—1935, at 
320-350.000 Kc. 

His last labels are from the year 1684; he worked 
to the last. 

Dimensions of some instrum,ents 

O -c 























med. shape 



small „ 


















H i^ 


109 199.5 60 78/78 - - 

- 210 - - 28 29.5 
_ 208 - - 29.5 29.5 
-214 - - 26.5 28 

109 206 65 75/75 - - 

108 206 66 78/79 - - 

- 204 - - 30 30 

- 202 - - 28.5 29.5 
-474 - - 114 114 

Nicolaus Amatus Cremonen Hieronymi 
Fil. ac Antonij Nepos Fecit 1677 

Nicolaus Amatus Cremon^il 
Hieronymi fiLii fecit. An 1^^-/ 

Amatis Giambattista, Venice, 1677. Violin maker. His 

works are lost. 
Amherton Laurentius, Turin. 

Laurentius Amberton Torino 1756. 

Ambrogi Pietro, Brescia, Rome, 1712—1746. He work- 
ed in Rome after 1745. His violins are good, but not 
outstanding. He imitated Balestrieri and applied 
dark varnish. His 'celli sound best. Price 20.000 Kc. 

Petrus Ambrogi Crem. fecit Romae 
an 17 . . 

Petrus Ambrogi Crem. fecit Romae 
an 17 . . 

1 Petrus Ambfosi Fedt {J^ 

!0 Brixue j74^ J; 


Amhrosio (d' Ambrosio), Antonio, Naples. 1820. 

Violins of medium quality. 
Amici Luigi, Rome. 18th — 19th century. A maker of 

guitars and mandolins. 


Via del PeUegrino N" Vt ' 


Amighetti Giacomo, Lovere (1914). 

Anderlini Giuseppe, Spilamberto (Modena) 1860. Built 
violins in his earlier years; later he ran a factory. 

Andina Francesco, Lugano, b. 1891, was an amateur 
who worked on the model of Stradivari and applied 
a dark brown oil varnish, result of his own experi- 

Angiello Luigi fu Giacinto, Milan, 20th century. In 
1937, he exhibited a string quartet at Cremona. 

Andrea Giovanni, Rome 1606. In 1606 he is known 
to have worked for Visconte Bruto in Piperna. Other- 
wise unknown, but for the following rhyme: 

Con Andrea, luitar poi siate pratico 
perche non voglio piu la sua amicizia 
ne, la mattina, ber secco il alliatico.* 

(Quoted by Valdrighi) 

C. Nicolaus Amati fecir 
Bonomtc 17c ^ 

* Be careful with Andrea the lute maker, for I don't care for 
his friendship — as little as for sour Alliatico (a wine-sort) in 
the morning. 


1. Paolo Albani, Palermo 

2. Andrea Amati, Cremona, 1574 






£ 5 



5. Hieronymus Amati Cremonensis 
(fil. Andreae) 


6. Antonius & Hieronimus Amati, Cremona, 1615 
































2 r 
n '> 

a ! 














> * 





















OX'?-* *^' 

25. Thomas Balestrieri, Mantua, 1762 


Andrea Pietro, Venice. 1650—1700. Instruments of 

high arching, red varnish. 
Andreas Joannes, Verona, Venice. 1511. In a museum 

of Vienna there is a lyre bearing the following label: 

Johannes Andree Veronen 
adi 12 Agosto 1511. 

Andreolo, Venice, 1359. The oldest lute maker men- 
tioned by Valdrighi. 

Andres Domenico, Bologna 1740. An amateur known 
only from one handwritten label: 

Dominicus Andres 
Bollognensis Diletante 

Fecit a. Domini 1740. 

Angelis de, Vitus, Bologna. 1609. Lute and violin maker 

known only by name. 
Annarumma Vincenzo, Salerno. Born Feb. 4, 1892. 

rivlduto da 


I'anno 1943 N. 16-4 


fece in Salerno 

Salerno il 18-3 1937 

No 57 


Anselmo Pietro, Cremona, Florence, Venice. 1730 — 
1760. — His work is beautiful, following the pattern 
of Francesco Rugieri, whose pupil he may have been. 
He used a wonderful yellow varnish, applying it in 
rather thick coats. For his work he chose the best 
wood. His violins are usually rather small. His 'cellos 
are best. The value of his violins is 30.000 Kc and 

Ansoldo Rocco, Genoa. 1760. He imitated J. B. Gua- 
dagnini's work. 

Antolini Francesco, Milan, 19th century. 

Francesco Antolini Fece Milano 1857 

Antegnati Giov. Francesco, Brescia. 1535. He belongs 
to a family of organ-builders. He was a composer of 
sacred music and a good lute maker. 

Antoniazzi Gaetano, Cremona. Born Aug. 7, 1823, 
died Aug. 1, 1897 at Milan. His products are good 
imitations of old masters. 

Antoniazzi Gregorio, Colle near Bergamo. 1732 — 
1750. A disciple of Domenico Montagnana whose 
labels he is said to have put into instruments of his 
own making. There exist only few specimens marked 
with his own name. 

It is difficult to distinguish his work from that of 

Antoniazzi used fine wide-grained wood. His 

workmanship is most conscientious, his varnish beau- 
tiful, matching the best Cremona varnish. His instru- 
ments possess a wonderful tone of a quite peculiar 
silky timbre and a good carrying power. 
Value of violin 120.000 Kc and more. 


in Colle 1738. 

Antoniazzi Riccardo, Milan. 1886 — 1910. Brother of 
Romeo Antoniazzi. He worked for a long time in 
Leonardo Bisiachi's workshop at Milan. 

Antoniazzi Riccardo di Cremona 

figlio di Gaetano fece Milano 

I'anno 1904 

Riccardo Antoniazzi Cremonese 

fece in Milano I'anno 1887 A + R 

Ricardo Antoniazzi Cremonese 
fece in Milano I'anno 1899 

Antonizzi Romeo, Cremona, Milan. Born May 4, 1862 
at Cremona. Son and disciple of Gaetano Antoniazzi. 
His violins are good. 

Antoniazzi Romeo di Cremona 
fece in Cremona I'anno . . . 

Antoniazzi Romeo Cremonese 
fece a Cremona I'anno 19 . . 

Antoniazzi Romeo Cremonese 
fece a Cremona I'anno 19 . . 

Antonij (Antony) Girolamo, Cremona 1750—1780. 

His workmanship is not of the best, the acoustic 

quality of his instruments good, his varnish comely 


Hieronimus Antonij 

Cremonae Anno 17 . . 

Antonio dai Liuti, Ferrara. 1475. Lute maker. His true 
name is unknown, people called him "Maestro Anto- 
nio dai Liuti" (Master Anthony, lute maker). 

Antonio di Ancona, Ancona 1723. 

Antonio Maestro, Venice, 16th century. — A lute maker 
and according to Valdrighi a lyre maker. 

Arassi Erezzo, Milan. Born 1889 in Trieste. Violin 
maker and able violinist, too. He founded an instru- 
ment-workshop in Milan. Worked after the pattern 
of Emiliani, using beautiful golden-rose and golden- 
brown varnish. His workmanship was conscientious; 
his instruments, having very good tone, are in great 


Arcangoli Ulderico, Morciano di Romagna (Forli), 
20th century. — In 1937 he exhibited three vioHns 
and a viola at Cremona. 

Arcangioli Lorenzo, Florence. 1825—1849. Instru- 
ments of medium quality. 

Lorenzo Arcangeli 
fece in Arezzo neH'anno 1844 

Arcellaschi Galileo, Como, b. 1910. Good 'celli. 

Ardeli Angelo. Sesto Calende, b. Apr. 23, 1929. 

Arezzo Nicolo, Naples. 20th century. 

Ariemi Carlo Giuseppe, Milan. 1810-1863. The Milan 
conservatory of music possesses a three-quarter 
contrabass, varnished brown-yellow, labelled: 

Carlo Giuseppe Arienti 

Fece in Milano, nella 

Contrada Ponte Vetro 
num. 1863. Anno 1810. 

Arnaldus Joannes Aloysius ca 1584. Mr. Alfred Keil of 
Lisbon owned a seven-stringed guitar marked with 
the above given name, the label bearing the date of 
25th October 1584. The work is of Italian origin. 
Otherwise unknown. 

Arnoldi Carlo, Anagni, Rome 1790. Mediocre instru- 

Arpino Felice, producer of mandolins. 

Artalli Giuseppe Antonio. Milan. 1765. Little known 
violin maker who worked on C. A. Testore's model. 

Artioli Antonio, Milan 1880 was valued for repairs. 

Artioli Antonio 
riparo I'anno 1880. 

Artmann H., Capri. 19th century. He made good man- 


H. Artmann. 

Assalone Gasparo d', Pesaro, Rome. 1690—1740. He 
constructed instruments on a highly arched Amati 
model and used a good yellow varnish. He did not 
work with sufficient conscientiousness; nevertheless, 
his rough work was often counterfeited and labelled: 

Gasparo d'Assalone 

Who made the imitations, is not known. Price of 
a genuine violin 12.000 Kc. 
Attore Michele, Padua, Venice. 1583—1620. Little 
known violin and lute maker. 

Michele Attore Fece 
1620 Venezia 

Auciello Luigi b. 1881 in Molfetta near Bari, active in 
Milan. Self-taught maker, always seeking a powerful 
tone; he named his instruments after great artists. 

Aurelli Aurelio, Rome. Born 1870 in Rome. d. Apr. 20, 
1925. Distinctions were conferred on him for his 

careful imitations of great Italian masters. Varnish 
deep yellow or red. 

Aureli Auriolio 


Fece in Roma nell anno 1921. N. 32 

Auria Fratelli di Milano, mandolin producers. Undated 

^' AURIA Fratelli d'Milano. 

Autiero Giuseppe, b. 1858 in Teano, d. March 9, 1919 
in Avignon, France. Son and pupil of Paride Autiero. 
Autiero Paride, Teano. 1860-1870. 

Paride Autiero 
fecit Teano 1867 

Avellano e figho, Naples 1894. 

Avenia d', L., Naples. 1888. A skilful mandolin maker. 

Averna Alfonso (and son) producers of mandolins in 

Palermo, Sicily. 
Averna Alfredo, Palermo, b. March 12, 1902 in Calta- 

nissetta, Sicily, pupil of his brother Alfonso and 

uncle Gesualdo. Violin maker. He exhibited a violin 

at Cremona in 1937. 

Alfredo Averna 

Averna Alfredo 
me Fecit Palermo 19 . . 

Averna Enrico, Palermo. 20th century. He exhibited 
a violin at Cremona in 1937. 

Averna Gesualdo, Caltanissetta. Careful workmanship 
on classical patterns. Exhibited two violins at Cre- 
mona in 1937. 

Azzola Luigi, Turin, born in Venice 1883, imitator of 

Anno Domini 19 . . 






Bachetta Giuseppe, Cremona, Mantua. 1780. Some of 
his instruments, insofar as we have seen them, are 
no masterpieces. 

Badalassi Pietro Valentino (di). Pisa, b. June 29, 1915, 
won a diploma at the Cremona Exhibition in 1937. 

Riparato in Pisa 

da Piero Badalassi 


Piero Badalassi in Pisa 
Faceva TAnno 19 . . 

Baffo Antonio, Venice. Ancient instrument maker, 
born about 1490, allegedly still alive in 1581, was 


a lute and harp maker and cannot have made violins, 
at most some old-type violas. 

Antonius Baffo Venetus fecit. 

Bagatella Antonio, Padua. Born Feb. 21, 1755, died 
Feb. 25, 1829. A disciple of Pietro Bagatella and 
perhaps his son. He was an educated man, wrote 
a book on the building of violins, violas and 'celli. 
In his own work he followed Jos. Guarneri del Gesii. 
Good workmanship, red varnish. Prof. Dr. Wilhelm 
Altmann says the above given date of birth is erro- 
neous, since Antonio Bagatella was employed by 
Tartini*) in the years 1740—1770. It may be pos- 
sible, however, that this was another Antonio Baga- 
tella, who may have been nephew or uncle to A. B., 
born 1775. Was it not Antonio Bagoletto who worked 
for Tartini? Value 12-20.000 Kc. 

Antonius Bagatella delectens 
fecit Patavij. Anno 1794. 

Bagatella Pietro, Padua, 18th century. Father of Anto- 
nio Bagatella: his own violins are highly arched and 
rather dark. 

Bagnini Orazio, Florence. 1661—1667. Lute maker, 
little known. 

Bagoletto A., Padua 1782. According to some identical 
with Bagatella, perhaps merely a corruption of the 
latter name. The specimen adduced is in the style 
of Guarneri del Gesii. 

Antonio Bagoletto 
in Padua 1782. 

Bairhoff Giorgio., Naples. 1757—1786. He was em- 
ployed in Nicolo Gagliano's workshop. Worked on 
the pattern of Gennaro and Nicolo Gagliano. His 
instruments are outstanding for their beautiful flat 
shape, faultless wood, gracefully carved scrolls, and 
careful workmanship. He often made instruments of 

middle size. ^. . „ . , „ 

Giorgio Bairhoff Fecit 

Neapoli 1757. 

Bajoni Luigi, Milan. 1838, dead 1878. Instruments of 

medium quality. 



L'ANNO 1854 


Balcaini, Milan, 18th century. Very good workmanship, 
brown varnish. Price 10.000 Kc. 

Baldantoni Giuseppe, Ancona, Born, March 19, 1784, 
died Jan. 5, 1873. Built flat instruments and did not 
use the best wood; the sound-holes are cut on the 

pattern of Stradivari, the scrolls are neatly carved, 
purfling broad. Yellow-brown varnish, applied in 
thin coats. Besides violins he also built violas, 'cellos 
and contrabasses. Only a few violins survive. Into 
some of his instruments he put labels antedated by 
hundred years (1734). Price 12-16.000 K. 

Joseph Baldantony 
Anconae fecit anno 1834 

Josephus Baldantonus Anconiae 
fecit Anno 1839. 

,^ feck Aoao iSS^ , ^ 

* Guiseppe Tartini (1692—1770) famous violinist, composer, 
and theorist, who compiled the famous "Tartini's rules of 
art" with instructions how to handle the bow. 

Baldini Ugo, Faenza, b. 1878. An amateur who spe- 
cialized in guitars. He published a work on guitar- 
making (1934/35). 

Balestrieri Pietro, Cremona. 1735. Brother of Tom- 
maso Balestrieri, disciple of A. Stradivari. Good 
workmanship. Orange or brown-yellow varnish. 
Price 25-40.000 Kc. 

Petrus Balestrien alummus Antonii 
Stradivarii fecit Cremonae, anno 17 . . 

Pietro Balestrieri 
fece in Cremona 17 . . 

Balestrieri Tommaso, Mantua. 1720—1790. Brother 
of Pietro B. Balestrieri, pupil of Pietro I Guarneri. 
Worked at Cremona and Mantua. He imitated his 
master so well that his instruments are often sold 
as instruments by P. Guarneri. His products are 
masterpieces. It is possible to distinguish them from 
P. Guarneri's works by the purfling, scrolls, sound- 
holes and broad pattern. Balestrieri's scrolls are of 
a rather deep cut, his sound-holes broader and more 
erect than those of Guarneri's instruments. Sound- 
holes cut by Guarneri are more pleasing to the eye 
and finished in a more delicate fashion. 

Balestrieri's varnish, very similar to that used by 
P. Guarneri, is yellow, orange or red. The violon- 
cellos are the best of his instruments. Only the pur- 
fling is less perfect and belongs to the distinguish- 
ing marks of this master. Price of violins 120 — 
160.000 Kc, 'cellos more. 

Size of Violin: 

Length of belly and back 355 mm 

Upper width 165.5 mm 

Middle width 110 mm 

Lower width 207 mm 


Total height under the bridge (sides, 

belly and back ) 68 mm 

Distance of corners of belly and back 75/72 mm 

Thickness of belly and back: 


under the bridge 3.3 mm 

between the bridge and the lower block 2.9 mm 
between the bridge and the upper block 2.5 mm 

on the upper edge 2.2 — 2.5 mm 

on the lower edge 2.4 mm 

on the edge K. . 2.7— 3.2 mm 

along the sound-holes 2.9— 3.1mm 


under the bridge 4.7 mm 

between the sound-post and the lower 

block 2.5 mm 

between the sound-post and the upper 

block 2.8 mm 

on the upper edge 1.9—2 mm 

on the lower edge 2 —2.2 mm 

on the edge 2.6—3 mm 

between the bouts 2.2 — 2.5 mm 

Tomaso Balestrieri 
tece in Mantova 1735. 

Thomas Balestrieri Cremonensis 
fecit Mantuae 1775. 

Thomas Baleftrieri 
[Fecit -Mmiitus&anRO t ji 

Ballarini Santo; Rimini, Terni, Rome. 1740—1781. 
Worked on the pattern of Andrea Gisalberti, whose 
pupil he may have besn. 

Fatto da me Santo-Ballarini 

per passagio in Terni 

Nel Anno 1740. 

Sanct Ballarini 
face in Roma 1780 

Ballerini Pietro, Florence, 1900. He took over the mu- 
sical instrument and string factory from Castellani 
& Figlio. 

Ballini Paolo, Brescia. 1857. Worked skilfully on the 
pattern of Stradivari and Guarneri. 

(Barabas, Cremona. 1793. A Munich painter, Kraus, 

owned a viola d'amour made by Barabas in 1793.) 
Baracchi Venerio, S. Martino d'Este (Modcna). 1829. 

Built fairly good instruments. 
Baraldi Alfonso, Modena, Bomporto. 1879—1891. 

Mediocre violin maker. 
Baraldi Giovanni, San Felice (Modena). 1766. Known 

from a surviving 'cello which bears a curious label: 

Fece qaesto Vio 

loncello il Giouan 

Baroldi di S. D. 

Lanno del Signo re 1766. 

Barbanti Silvio Francesco, Corregio. 1847—1850. Good 
workmanship, particularly his 'cellos are master- 
pieces. Price 10.000 Kc. 

Barbi Michele, Venice 1748. 

Michael Barbi, flor. fecit Venetiis A 1748. 

Barbieri Armando, Forli, Via S. Martino, Strada 1/1. 
20th century. He exhibited a violin and a viola at 
Cremona in 1937. 

Barbieri Francesco, Verona, Mantua. 1695—1750. 
Worked on Andrea Guarneri's model. He built 
violins of large shape. Light-red varnish. Good work- 
manship. Price 12— 15.000 Kc and more. Alfred Keil 
of Lisbon possessed a viola da gamba of his making 
of the year 1697. 

Barbieri Giuseppe, Poggio (Mantua). 1880. He was a 
good hand at repairs and built also new instruments. 
Barbieri Giuseppe liutaio e reparatore Poggio 1885. 

Barbieri Paolo (de), Genoa. Born 1889, pupil of Cesare 
Candi in Genoa; Stradivari and Guarneri patterns, 
red varnish. 


Fece nell'anno 19 PD 

Barbieri R., Genoa. He devoted himself more to the 

building of mandolins than to the making of violins. 
Bardollo Gino Silvio, Cavarzere (Venice), Via Bosco 

Chiaro. 20th century. He exhibited two violins at 

Cremona in 1937. 
Bargelli Giuseppe di Saladino, b. Apr. 15, 1886 at 

Vecchio di Mugello near Florence, established in 


fece in 

Bargelli Giuseppe 
fece in Firenze anno 19 . . 

Barnia Fedele, Venice 1760—1780. He came from Mi- 
lan, where he was born. Worked in the style of the 
Milanese school and on the pattern of Pietro Guar- 
neri. Skilful master of conscientious workmanship. 
The scrolls of his violins are tastefully carved; beauti- 
ful outlines. He used a yellow or reddish varnish. 
Price 12-16.000 Kc. 


Fedele Barnia Milanese 
fece in Venezia I'anno 1761. 

Baroncini Giuseppe, Pistoia. 19th century. His instru- 
ments are of large shape, sound-holes beautifully cut. 
Yellow varnish. Tone not outstanding. 

Baroncini Giuseppe 
Pistoja 1 . . 

Baroncini Michele, Lodi. Violin maker. 

Barrata Ermentoli, Padua 1564 was not a violin maker. 

A label in an ancient looking instrument reads as 


Barrata Ermentoli facebit in Padoua, anno Dominum 1564. 

Barranti Silvio Francesco, Correggio, 1850. Made good 

Bartoli Giuseppe, Venice. 1899. Disciple of Eug. De- 

Bartolini M., Rome, 19th century. 

Barzellini Aegidius, Cremona. 1670—1700. Disciple 
of Amati, worked on the pattern of Hieron. Amati, 
using beautiful wood. The back of his instruments 
is less arched than the belly, the sound-holes rather 
open and aslant. Price 12.000 Kc. 

AEgidius Barzellini fecit 
Ecolle Amatius Cremonen 1680. 

Bassani Giuseppe, Brescia 1678; known only from a 

^ ■ Josef Bassani 

fecit in Brescia 
Anno 1678. 

Bassi A., Scandiano (Modena). 19th century. Little 

known, violin maker. 
Bassiano, Rome, 1666. Lute maker, who labelled his 

instruments as follows: 

Bassiano liuttaro in Roma 1666. 

Bastiano, Verona (Bastiano da Verona). 15th— 16th 
century. Made lutes, violas, lyres, flutes, bugle-horns 
and harps, but no specimens of his work seem to have 
been preserved. 

Bastogi Gaetano, Leghorn. 18th century. Built lutes 
and guitars. 

Batiazza. Antonio Maria, Milan. 1707. Worked on the 
pattern of the Milanese masters. 

Antonio Maria Batiazza 

fece in Milano in Contrada 

Larga 1707. 

Battaglio Antonio, Milan 1757—1766. Violin and lute 

Antonio Battaglia 

Fabbricatore de Salterij 

nella Streta del Mangano 

vicino a S. Maria Segreta 

in Milano. 

* F * S 

Antonio Battaglia 

fece nell 'anno 1766 

Nella stretta del Mangano 

Dirimpetto a Santa Maria Secreta 

Vicino a Cordusio 

in Milano. 

Battani Antonio, Frassinoro, 19th century. Devoted 

himself to the repairing of instruments. 
Balti Antonio, Arezzo, 1691. Made chiefly spinets. 

Antonio Batti Arezzo 1691 

Batlioni Alberto, Foligno and after 1885 Ferrara. Son 
and perhaps also pupil of Marc-Antonio Battioni in 

Battioni Marc-Antonio, Foligno, 19th century. 

Baccani Stefano, Mantua, 19th century. Good instru- 
ments, labelled under the lower sound-holes curve. 

Bedocchi Mario, Reggio Emilia, Corso Garibaldi 40. 
20th century. He exhibited three violins and a viola 
at Cremona in 1937. 



Anno 19 . . in Reggio E. 

Mario Bedocchi 


I'anno 19 . . in Regio Emilia 

Belacqua, Florence. 13th century lute maker, friend of 

Belcioni Antonio di Stefano. 1673. Known merely by 

Bellafontana Lorenzo, Genoa, Via Davide Chiassone 

8/9. Born July 15, 1906. He exhibited a violin, a viola 

and a whole quartet at Cremona in 1937. 


Fecit Genua L. B. 

A. D. 1937 N G. 

Laurentius Bellafontana fecit 
Genuae Anno Domini 1948 


Laurentius Bellafontana 

fecit Genuae 1949 

N. 76 

Bellinazzi Giuseppe, Bonferraro (Verona). 20th cen- 
tury violin maker, exhibited a violin at Cremona in 

Bellone Pietro Antonio, surnamed 11 Pescorino, Milan. 
1691 — 1708. — Clean workmanship, brown-red 
varnish, long sound-holes. His instruments, finished 
in a masterly manner, possess a beautiful tone and 
are in great demand. Hamma valued them as works 
ranking between those of Landolfi and Guadagnini. 
He seems to have been a Frenchman by birth. 


Pictro Antonio BeUone deito iU 
Peicorino fece in Contfada,* 
Lar^a in Mikno 169-/ al Sc- 
^odi S. Antonio dx Padoua. 

Bell' Orsi Michel Angelo, Turin 1681. Violin maker, 
who used labels as follows: 

Michel Angelo Bell' Orsi 

fece in Torino 

I'anno 1681. 

Bellosio Anselmo, Venice. 1715—1879. Probably son 
of Giovanni Bellosio. He was a pupil of Serafino 
Santo and imitated the latter's style. His instruments 
are of rather full arching and have strong edges. He 
used beautiful, rather heavy wood, applied in thin 
coats, wonderful yellow-red varnish, superior in 
colour and lustre even to that of Santo Serafino. 
His instruments, though of good tone, are not strong 
enough. Best are his 'cellos. Price 100.000 Kc, 'cellos 

Anselmij Bellosij 
Fecit Venetijs 17 . . 

y^tifelmus Bellofius Feck 


Veaetiis ij^Z [ 

Bellosio Giovanni, Venice, 1735. Probably a disciple 

of Dom. Montagnana (1690-1750). 
Belluomini Maurizio, Pisa. 19th century. 
Beltranni Giuseppe, Vescovato near Cremona. 1870 — 

Belveglieri Gregorio, Bologna. 1742—1772. Violin 

maker of no particular merit. Best are his violas. 

Price 16.000 Kc. 

Gregorius Bilveglieri fecit 
Bologniae villa Bononice 

Bendini Giambattista, Milan. 1668. 

Benedetti Giuseppe, Piacenza. 1700. The violins and 

violas of his making are not of best quality. Price 

10-12.000 Kc. 

Benedicti de, Donato, Cremona. 1679. 
Benettini, Milan. 1868. Made good contrabasses. 
Benito Antonio, Milan. 1664. A violin of his making, 

inlaid with tortoise-shell, its head provided with a 

well carved lion's head, survives. The label quoted 

below is almost illegible. 

B. Liittgendorff doubts its genuineness and even 

A. J. Antoni's existence. 

A. J. Antoni Benito 
Milan 1664. 

Benti Matteo, Brescia, Born 1580, died after 1637. 

Lute and violin maker, built instruments of large 

shape with somewhat high arching on the pattern 

of Gasparo da Salo. The virtuoso A. Genz of Berlin 

owned a viola made by Benti in 1630. The violinists 

Ole Bull and W. Burmester possessed violins of his 


Matteo Bente 

fecit Bresciae 1580. 

Matteo Benti 
fecit Bresciae 1601. 

Benvenuti Joseph Maria, Eorgo. 1690 — 1710. Rare 

instruments of excellent qualities, good golden - 

yellow varnish. 
Benvenuti Paolo, 18th century (in San Lorenzo). 

Named by Valdrighi; works lost. 
Benvenuti Silvio, Ancona, b. March 13, 1904, exhibited 

one violin at Cremona 1937. 

Silvio Benvenuti 

Liutario pergolese faceva in Ancona 

I'anno 19 . . 

Berati, Imola (Bologna). 1760-1784. 
Berera Giov. Antonio. Trente. 1770. Current work- 
manship of no particular interest. 

Johannes Antonius 


Faciebat Tridenti Anno 1760. 

Joannes Antonius Brera (sic) 
fecit Tridente Anno 1745. 

Beretta Felice, Como. 1760-1789. Disciple of Giu- 
seppe Guadagnini: imitated his master's and J. B. 
Guadagnini's style. Instruments of his making are 
often believed to be works produced by Giuseppe 
and J. B. Guadagnini (IL); they differ from those 
of the masters Guadagnini by their rough edges, 
which are not cleaned up outside; the wide purfling 
is less good-looking; less shapely sound-holes, wide, 
rather untastefuUy cut scroll. In spite of all these 
small defects, the instruments have a good tone 
Deep-yellow varnish. Price 40.000 Kc, and more. 

Felice Beretta alievo di Giuseppe Guadagnino 
fece in Como I'Anno 1770 


Bergamo Domenico fu Giacomo, Padua, Via Alles- 
sandrio Poerio 15 A. 20th century. Exhibited a violin 
of his making at Cremona in 1937. 

Bergonzi Benedetto, Cremona. Born 1790; d. at Cre- 
mona in 1840. The last member of a family of 
violin makers who devoted himself to the repairing 
of instruments. 

Bergonzi Carlo, Cremona 1676—1747. Disciple of 
Joseph Guarneri fil. Andreae. He also worked in the 
workshop of Antonio Stradivari in whose house he 
lived after 1746. Carlo Bergonzi's violins stand on 
account of their beauty and also of the quality of 
their tone midway between those of Antonio Stradi- 
vari and Joseph Guarneri del Gesu. They are of 
superb workmanship, made of beautiful wood and 
covered with a brilliant varnish, red, brown-red, 
golden-yellow or amber coloured, similar to that of 
Stradivari. Carlo Bergonzi built violins of large 
pattern and low arching, sometimes also on a smal- 
ler model. The scrolls are wonderfully cut, with 
protruding ends, the sound-holes, the cut of which 
recalls partly Stradivari, partly Guarneri del Gesii, 
are placed a little lower than usual, as is also the 
case in many works of his first teacher. Carlo Ber- 
gonzi belongs to the Cremonese classics and experts 
place his best work on a par with those of Antonio 
Stradivari and Guarneri del Gesii. His 'celli and 
contrabasses do not measure up to his violins. His 
oldest violin of 1696 bears a handwritten label on 
parchment. The elegance and finish of Bergonzi's 
works is reflected in their prices — 320.000 Kc, 
and more. They are coveted as concert instruments, 
for they fulfil the ideal of a magnificent, carrying 
and brilliant, yet liquid and mellow tone. 

Carlo Bergonzi fece in Cremona 

anno 1737. 

Anno 17 . . Reuisto e corretto da me 

Carlo Bergonzi Cremona 

5» Anno 17^/ Carlo Bergrnzi 
? fece in Gremon? -: 

£ «P »« Sl# » «f ** ^ 1^^ t*^ *•» « 'T 

. ^ Carlo Ber^OJ«iinCremonk. ^ > 

4n M % m M M M.Ji JH A Js. JlJfe AJN- 

Sizes of violins: 

Violin made in 1735 1737 1737 1742 

Length of back 354 355 352 352 mm 

Width of top 166 164 165 153 mm 

Width of centre 108 106 107 105 mm 

Width of bottom 205 203.5 208 204 mm 

Height of body (with sides) 61 61 62 64 mm 

Bergonzi Carlo (II ), Cremona. 1780, died 1820. Third 
son of Michel Angiolo Bergonzi. Violin maker who 
devoted himself to the repairing of instruments. His 
own creations are not of best quality. Besides violins 
he also built guitars and mandolins. 

Bergonzi Francesco, Cremona. 1687. 

Bergonzi Giuseppe, Cremona, 1740. 

Bergonzi Lodovico, Cremona. 1741. 

Bergonzi Michel Angiolo, Cremona 1715—1765. Son 
and pupil of Carlo Bergonzi and after the latter's 
death his successor. Worked on various models: built 
for the most part smaller-sized instruments on the 
pattern of Carlo Bergonzi, but they lack the con- 
scientious and accurate workmanship of his father. 
He is also known to have worked on the large model 
of Stradivari. His instruments often have a wide, 
flat edge. Very fine wood, wonderful red-yellow 
varnish of excellent quality. His instruments are 
outstanding for their smooth and powerful tone: 
best are his contrabasses. Price 100—120.000 Kc. 

Michel'Angelo Bergonzi figlio di Carlo 
fece in Cremona 17 . . 

Michel Angelo Bergonzi 
figlio di Carlo fece in 
Cremona I'Anno 1749. 

Mlchel-Angelo Bergonzi 

figlio di Carlo 

fece in Cremona I'anno 1755. 

Michelangelus Bergonzi 
fecit Cremanae 17 . . ' 



'■ ui 

Bergonzi Nicolo, Cremona. 1749—1782. Elder son of 
Michel Angiolo Bergonzi, his successor and prob- 
ably his pupil, too. Worked on his father's pattern 

* Carlo Bergonzi is the oldest and greatest master of the Ber- 
gonzi family. Francesco, his contemporary (1687), was perhaps 
his brother. With two other violin makers of the family, Gai- 
seppe (1740) and Lodovico (1741) it is impossible to determine 
the descent. Michel Angiolo Bergonzi (1715 — 1765) was son of 
Carlo, while Nicolo (1749— 1782), Zosimo (1750— 1777) and Car- 
lo II. (1780—1820) were sons of Michel Angiolo. 


of broad, flat shape. His workmanship is not of the 
best, but he was able; some instruments show very 
good workmanship and a carefully chosen wood. 

His violins are of good tone, yet the wood is not 
always of the best: orange-yellow varnish of bril- 
liant lustre. The scroll is not delicately cut. Hand- 
some specimens fetch prices of 140—160.000 Kc. 

Nicolaus Bcrgonzi 
Crcmoncnfis fucicbat 

Anno lyss 


Nicolaiis Bergonzi [1 

I O-cmoiienfis facichat 
[ Anno ly ^ 

Bergonzi Zosimo, Cremona. 1750—1777. Second son 
of Michel Angiolo Bergonzi, and perhaps also his 
pupil. Somewhat heavy and not so skilled as his 
brother Nicolo. But few of his instruments survive. 
He devoted himself mostly to the making of 'cellos 
and contrabasses; they are of very good tone. Price 
of violins 30—50.000 Kc, 'celli more. 

Fatto da me Zosimo Bergonzi 
L'anno 1771. Cremonae. 


Bertani, Modena. 19th century. Made also flutes and 
English horns besides violins. 

Bertasio Luigi, Piadena. 19th century. 

Bertassi Ambrogio, Piadena. 1730. Good workman- 
ship. Violins of his making are valued at 12.000 Kc. 

Berti Antonio, Cortona (Tosca) 1721. Violin and lute 

Berti Giuseppe, called "Giusino", Fumalba (Modena). 
19th century. Inferior instruments. 

Bertini Vincenzo, Rome 1914. Mandolin maker. 

Bertoleti Antonio, Brescia. 1796. Only one 'cello, 
which is not of superior quality, survives. 

Antonio Bertoleti 
Fece in Brescid. 1796. 

Bertolini Angelo, Reggio Emilia, b. May 1. 1881, 
violin maker, exhibited a violin of his making at 
Cremona in 1937. 

Bertolotti Francesco, called "Violino", Polpenaza, 16th 
century. Son of Santino Bertolotti and father of 
Gasparo da Salo. Originally he was a painter and 
became a viol maker at a later age. A Santino Berto- 
lotti was a native of Polpenazza and lived in the 
16th century. Also Francesco stayed in Polpenazza, 
but Gasparo de Salo moved to Brescia, a large town, 
where he died, leaving his workshop to his son Fran- 
cesco (1564—1614). 

Bertolotti Francesco, Brescia. Born at Brescia in 
March 1564, still lived in 1614. Son and pupil of 
Gasparo da Salo. Less skilled and dilligent than his 
father. He sold the workshop, which he had taken 
over from his father, to Paolo Maggini and moved 
to Galvanese near Lake Garda in 1614, where his 
father had bought some land. 

D. Francesco t. Caspar da Salo in Brescia. 

Bertolotti Gasparo, called "Gasparo da Salo", Brescia. 
Born at Salo near Lake Garda on May 20, 1540, 
died at Brescia Apr. 14, 1609; his burying-place is 
St. Joseph's Church of Brescia. Son of Francesco 
Bertolotti: pupil of his grandfather Santino Berto- 
lotti at Polpenazza and disciple of Girolamo da 
Virchi at a later time. In 1565 he became inde- 
pendent violin maker. He gave the violin its modern 
shape. Gasparo da Salo built violins of moderately 
arched shape, using strong wood for the belly and 
back; the outlines of his instruments are not sym- 
metrical enough: the long, large, wide-open sound- 
holes are mostly upright; the belly is of pine with 
very regular wide grain; for the back he used mostly 
the outside-planks of poplar trunks, for the large, 
roughly carved scrolls maple and sometimes even 
pear-wood. The brown varnish, applied in thin coats, 
is of wonderful lustre like polished agate; Hamma 
calls it "ahandsome tarry hue"; it is of good quality. 
He built instruments both of small and large pat- 
tern; both have a good tone. Gasparo de Salo was 
the best violin maker of his time and is the founder 
of the Brescian School. His violas, gambas and contra- 
basses are good masterworks; their backs and sides 
were often made of pear-wood. Very few of his 
violins survive, mostly those made in 1601 — 1603, 
In the appendix will be found outlines of violins in 
real size and three-quarter contrabasses. 


Price of violin 150.000 Kc, and more — collectors' 

prices, „. , . 

^>izes of mslruments: 

Length Width Sides 

upper lower upper lower 

Violin, small pattern 351 160 200 — — mm 

Violin, large pattern 364 176 216 27 28 mm 

Viola 443 220 257 33 40 mm 

Contrabass 1080 544 660 - - mm 

(A gigantic three-stringed contrabass is exposed in 
the Kensington Museum in London.) 


afparo daSalo , In Brefcia. 

Bertolotti Santino, Polpenazza, 16th century. Lute 
maker, grandfather of Gasparo da Said. 

Bertozzi Alfredo, fu Giuseppe, Ripa Saravezza (Lucca). 
Via di Mignano. 20th century. Exhibited a violin 
and a viola at Cremona in 1937. 

Bertucci Costantino, Pesare. Born 1860 in Rome, 
d. 1930, specialized in the construction of guitars 
and mandolins; he was also an outstanding per- 

Chitarra Classica 


Bertucci D. Giuseppe, Mont-Orsello. 1740-1777. 

Bertucci Fausto Maria, Rome. Born in Rome on June 
25, 1897. Worked on the pattern of Stradivari, used 
a varnish of the colour of old gold. His instruments 
show careful workmanship and are included among 
the best creations of the violin makers of his time. 

Fecero in ROMA nel 1928 



Roma 1949 

EOMA , - Via Tmfm ^1. 
■,ux*f^£ mS^mM. 


Bianchi Giovanni, Florence. 1746—1757, Worked on 
the pattern of Stainer. His workmanship lacks care- 
fulness, only the scrolls are neatly carved: large 
sound-holes, unevenly executed purfling. Yellow var- 
nish. The instruments are of good tone, particularly 
his 'cellos are excellent. Price 20 — 25,000 Kc, 'cello 


Giovanni Bianchi Fece 

In Firenze, anno 1746. 

Bianchi Nicolo, Aix, Paris, Genoa, Nice. Born in 
Genoa 1796, died in Nice 1881. Worked mostly on 
the pattern of Guarneri, made good copies and 
repaired excellently the instruments of old masters. 
The varnish he used is of wonderful lustre. Some 
of his instruments are quite outstanding in shape 
and tone. Price 16.000 Kc (average). 

Repare par Bianchi Nicolo 
Luthier decore 
A Parigi 1851. 




Bianchini Secondo b. Oct. 3, 1928 at Castelvetro Pia- 
centino, productive violin maker active in his birth- 
place and (for some time) at Salo Guarneri pattern, 
also developed his own model. 

Bianchini Secondo 
fecit Cremona 1948 

Bianchini Secondo 
fecit Salo 1949 

Bimbi Bartolomeo, Siena. 1750—1769. Buih, in the 
style of Gabrielli, mostly instruments of small pattern 
with high and full arching. Careful workmanship, 
wonderful transparent golden-yellow, orange-red or 
red varnish. Price 20 — 40.000 Kc according to the 
state of preservation. 

Birmetti Giambattista, Florence. Second half of 18th 
century. Large pattern, wonderful bright red var- 

Bisiach Carlo, Florence, Via Puccinotti 72. Born Mar. 9, 
1892; exhibited five violins at Cremona in 1937. 

Carlo Bisiach di Leandro 
Milanese fece in + 

Firenze I'Anno 1948 C B 


Bisiach Giacomo, Milan, Corso Magenta 27. B. Nov. 
28, 1900 exhibited four violins at Cremona in 1937. 

Giacomo e Leandro Bisiach 
Fecero in Milano I'A 1947 

Bisiach Leandro. Milan 1890—1914. Worked in the 

fashion of the Cremonese school: repaired carefully 

the instruments of old masters. 
Biza Giovanni Battista, Treviso. 1779. Little known. 
Bizzi Egidio fu Giovanni, Finale Emilia (Modena) Via 

A. Costa 1. 20th century. Exhibited two violins at 

Cremona in 1937. 

Leandro Bisiach da Milano 
Fece I'Anno 1922 


LEANDRO BISIACH della Scuola Cremonese 
fece in Miiapo i8 ^ <? ^!|?^^ *^?' Dugmo :% 

J^e.^'pn^tM (^■•^h'C'^f^C-^y 


Blasio Raffaele di, Naples. 18th century. 

Boccaber Matteo, Rome. 1592—1619. Excellent lute 

Bodeni Luigi, Venice. 1719. Skilled master of repute, 

but nowadays almost unknown. 

Bodiani — never existed: the instruments marked with 
this name are fakes, unsuccessful besides, and seem 
to have impaired the reputation of the violin maker 
Giovita Rodiani, (Brescia, 1580-1630). The fakes 
have a glassy yellow varnish. 

Bodio Gennaro, Venice, ca 1740. Price of instruments 
ca 16.000 Kc. 

Boldrini Ovidio, Salo. 1864. Little known master. 

Bolelli Pietro, Bologna. 19th century. 

Bolli, Naples. 1897. Assiduous violin maker. 

Bomberghi Lorenzo, Florence. 17th century. Son of 
Giovanni B. Devoted himself mostly to the building 
of violas. Price of violin 10.000 Kc. 

Bombirio Domenico, Villafranca (Piemont) 1720 — 
1730. Perhaps pupil of Goffredo Cappa, unfortuna- 
tely little known. 

Bomini Carlo, Cremona 1715. Adherent of Antonio 
Stradivari, worked on the latter's pattern. Applied 
a golden-yellow varnish of excellent quality. Good 
workmanship, beautiful tone. 

Carolus Bomini Discipulus 
Antonij Stradivarij Cremona 

Bonardi Domenico, Modena. 1728. Devoted himself 
mostly to the repairing of instruments. 

Bono Gaetano, Venice, 18th century. Good workman- 
ship; quite rare. 

Bonora Giuseppe, Bologna, Via Tripoli 69. Born Sept. 
27, 1888. Exhibited a violin, a viola and a 'cello at 
Cremona in 1937. 

Bonora Giuseppe, Bologna. 20th century. Worked on 
his own model. The scrolls of his instruments are 
of fine workmanship, purfling delicately finished, 
inserted half a millimetre deep. Instruments of his 
making are masterpieces. Backs made of bird's-eye 

Bonoris C esa r e, Mantua , 1558. Built excellent violas 
of which only a few survive. 

\v^«.'Ba^N-A Bo3ii© 


Bodio Giambattista, Venice. 1790 — 1832. Son and 
disciple of Gennaro Bodio. Built, on the pattern of 
Dom. Montagnana, flat-shaped wide-edged instru- 
ments with wide purfling. Yellow or yellow-red hard 
varnish. The instruments have a hard, rather power- 
less tone. Price 10 — 16.000 Kc. 

Cesare Bonoris di Mantova 1568 

Bonozzati Girolamo, Venice, 1899. 

Bonvincini Filippo, Spilamberto. 1790—1796. 

Borelli Andrea, Parma. 1720—1746. Worked on the 
large pattern of Stradivari, yet his workmanship 
lacks carefulness. Upright sound-holes after the fash- 
ion of Lorenzo Guadagnini: glassy yellow, brown- 
yellow or brown varnish. The instruments, however, 
sound well, particularly the 'cellos are good so far as 
their shape and tone are concerned. Price 25 — 
30.000 Kc, 'celli more. In 1912—14 violins were sold 
at 1000 and 'cellos at 1500 M. 


Borelli Antonio, Cesare, Parma. 1792. Son of Andrea 
Borelli. Built violins of large pattern. Applied an 
agate-coloured yellow-brown varnish. 

Borghi Pietro, Modena 1893— 1921 was a wood carver 
or cabinet maker and at the same time amateur 
violin maker worthy of notice. He worked in the style 
of Andrea Guarneri and applied a rather thick rose 
or bright brown varnish. Fine finish. 

Borgia Antonio, Milan 1769. Worked on the pattern 
of the Testori. Price 12.000 Kc. 

Antonius Borgia me fecit 
in Milano, anno 1769 

Boriero Alfonso, Malo (Vicenza). 19th century. 
Borio Francesco Antonio, Asti a Cuneo (Coni). 1737. 

Instruments of inferior quality. 
Bortolotti Giovanni, Verica (Frignano) 1884—1894. 

Built excellent contrabasses. 
Bortolotti Luigi, Milan c. 1815; branded instruments, 

yellow or reddish-brown in colour. 

Luigi Bortolotti 

Bosi Carlo, Cremona, Via S. Bernardo 5. 1873-1940. 

Exhibited a violin, a real masterwork, at Cremona 

in 1937. 

Bosi Floriano, Bologna. 1755—1782. Built lutes and 

mandolins. „, . r, 

Flonanus Bosi in via 

S. Mamola Bononiae 

fecit 1756. 

Botello Angelo, Naples. 1857. Assiduous violin maker. 

Bottari Ferdinando, Pisa. 1849. Guitar maker. 

Botti Antonio, Sassuolo (Modena) 19th century. Built 
good contrabasses. 

Botturi Benvenuto, Brescia, Corso Umberto I, 9. Nov. 
27, 1882. Exhibited two violins and a viola at Cremo- 
na in 1937. 

Bozzolo Pietro, born at Milan about 1830, died in St. 
Petersburg 9. 7. 1907. Went to St. Petersburg as 
member of the Italian opera chorus in 1862 and 
stayed there until his death. Repaired excellently 
instruments of old masters and founded, in St. Pe- 
tersburg, a large business dealing in Italian musical 

Braglia Antonio, Modena. 1790—1820. Specialized in 

Braidi Geminiano, Modena. 1794. 

Braidi Giovanni, Modena. 1766. His workmanship is 
not of the best. 

Johannes Braidi protomagister 

violae majoris in C. S. ">' ducis 

Mutinae fecit a. 1766. 

Brandilioni Filippo, Brescia, 1790. Worked on the pat- 
tern of Amati, but more in the style of the Tyrolese 

Brandini , Pesaro c. 1660, is renowned for his 


Brandini Fausto, Pisa c. 1777, a minor master whose 
violins may fetch from 10 to 12.000 Kc. 

Brandini Jacopo, Pisa 1789—1807. His violins sound 
well and are made of good material; the varnish, of 
good quality, is chestnut brown, but the outline in- 
elegant. Price 10-12.000 Kc. 



Branzo Francesco Barbaro, Padua. 1620—1660. 

Branzo Francesco Barbaro 
ai Padova Anno 1620. 
Branza Francesco BARBARO. 
Bratti Cesare, Florence, 1830. 

Premiata fabbrica 
strumenti a corda 
e corde armoniche 

Bratti & Co. 
7 Via dei Martielli 7 
Firenze anno 1830. 

Brensio Girolamo, Bologna. 16th century. A few 'cellos 
of good quality. 

Antonius Bononiensis 

Antonio Brensius Bononi. 
Brensio Girolamo, Bologna. 16th century. A few 'cellos 
of his making are known. 

Acronym US BrenruisBonort. 

Brenzoni Pietro. 1902. 

Bresa Francesco, Milan. 1700—1708. Instruments of 
medium quality. Price 15.000 Kc. 

Francesco Bresa fecit 
alia scala in Mi . . . 1708. 


Bressano Battista, Bologna. 1590—1600. 

Brizano Vincenzo, Foggia. 1860. Built good violins. 
His true name may have been Buzano or Busan. 

Broga Francesco, Milan, 18th century. Skilled amateur, 
little known, yet remarkable. Worked in the style of 
Andrea Guarneri and applied a light brown or pink 

Broschi Carlo, Parma. 1730 — 1744. Violins of his 
making are of small shape, made on the pattern of 
N. Amati; his workmanship is not of the best; beauti- 
fully cut sound-holes and scrolls. Price 12.000 Kc. 

Carlo Broschi 
in Parma fecit 1732. 

Bruno Carlo Colombo, Turin. Born May 16, 1872 in 
Caltanisetta (Sicily). Worked carefully on the pat- 
tern of Stradivari. Instruments of his making sound 
well. Red-brown varnish. 

FaBfcn'caniedisttvmenUfnv^icali a corda 
^pce anno 190 m Torino 


^ CarolVS CoiVMByS BfsVNO f «^ ^, i 

5 Fecit AliCVSTAE %RifioRVM. %^'^y' j 



f{fi^o {ioN^Hi *^ /yd 



Bruno Nicola, Bologna. 1727. 

Bucci Mariano, Rome, 19th century. He was a maker, 
but not a master. 

Budiani Giovita, Brescia, 1580; see Rodiani. 
Buonaroti, Rome, 18th century. Violins of narrow 

shape with high arching. 
Buonfigliuoli Pier Francesco, Florence. 17th century. 
Busan Domenico, Vicenza, Venice. 1740—1780. Built 

instruments on the patterns of the Venetian school. 

Best are his contrabasses. 

Price of violin c. 20.000 Kc. 

Domenicus Busan 

Venetus fecit 

anno 1746. 

Domenicus Busan 
fecit Venetiis 1761. 

Buseto Giovanni Maria del, Cremona, Brescia, 1640 — 
1681. He is often said, by mistake, to have lived from 

Built mostly instruments of large shape with rather 
high arching on the pattern of G. P. Maggini. The 
wood, particularly that of the belly, is not always of 
best quality, sound-holes open at the top. Applied 
dark-yellow or brown varnish. Large-shaped and 
high arched violins of powerful, yet hollow tone. Rare 
instruments, only a few survive. Price 25— 35.000 Kc. 
Collectors, however, pay still more. 

Gio. Mana «}el Bufsetto 
fecein Cremona. 1660 

Buti Antonio, Archi. 1756. Violin maker from Albano 
Little known. 

Antonio Buti d'Albano Archi 
Fece I'anno 1756. 

Cabroli Lorenzo, Milan. 1716. Built violins of average 
quality, applied, however, excellent yellow or orange 
varnish. Price 12.000 Kc. 

Cacchioni e Figli, Rome, 20th century. 

Caeste Gaetano, Cremona. 1660—1680. Mere name. 
Perhaps a member of the Costa family. 

Calahri Pier Vittorio di, Ferrara. 1549—1551. Mu- 
sician who also made lyres. 

Calace Antoni, Naples 1828 — ca 1875, maker of guitars 
and mandolins. 


Antonio Calace 

Fabbricante di chitare 

Strada Mezzo — Canone No 32. 

Calace Giuseppe fu Raffaele, Naples. Via S. Piclro 8. 
20th century. Exhibited a violin, a viola, a 'cello, and 
a contrabass at Cremona in 1937. 

Giuseppe Calace fu Raffaele 
fece in Napoli 

Calace Nicola, Naples. 1881 — 1903. Made mostly gui- 
tars. His workshop was at Naples, Strada Mezzo- 
cannone No. 32. 

Calace Raffaele, Naples, son of Antonio C. B. 1863, d. 
Nov. 14, 1934, maker of guitars and mandolins, also 


Anno 19 . . 

Raffaele Calace 

Calagari Francesco Giuseppe. 1685. A high-arched 
viola is known, of good and powerful tone: bright 
brown varnish, scroll very tastefully carved. The 
label bears his name, but the indication of place is 

Calar Giovanni, Rome 1624. — Lute maker. 

Calarese Salvatore, Campobasso, Via San Giovanni dei 
Geli. 20th century. Exhibited a violin at Cremona 
in 1937. 

Calcagni Bernardo, Genua. 1710 — 1750. Worked in 
the style of Jos. Guarneri del Gesu or on the pattern 
of Stradivari. Instruments of his making are of flat 
shape, their edges are also flat, rather broad; roughly 
carved scrolls, but gracefully cut sound-holes. Applied 
as a rule a yellow varnish, but there are also speci- 
mens coated with golden-orange, red-yellow and 
agate-coloured varnish. He used fine wood. Also the 
tone of his instruments is very good. They are for 
the most part of smaller size and differ so much in 
quality that the prices vary considerably. According 
to Hamma 5.000 M, according to Fuchs & Mockel 
4.000 M. A beautiful specimen coated with golden- 
orange varnish, was sold at the price of 48.000 Kc. 
in Prague in 1927. 

Bernardus Calcanius fecit 
Genuae Anno 1752. 

Calori — Stremiti Eugenio, Modena. 1840. Guitar 

Calot, Bern, Turin, ca 1820. He worked for Gianfran- 
cesco Pressenda in Turin, then in Bern about the 
year 1820, renowned for good repair work. His own 
work is little known. He is perhaps identical with 
Calot, a pupil of Clement in Paris. 

Calot, rue de la rosa, rouge 
porte N 3 ler etage, Turin. 

Repare par Calot 
a Berne, 1 mai 1820. 

Calvarola Bartoiommeo, Torre Ealdon? (Bergamo) 
and Bologna. 1750—1767. Worked rather well on 
Ruggeri's pattern. Small scrolls, indelicately cut. 
Yellow or red-yellow varnish of good quality. Price 

25.000 Kc. 

Bartoiommeo Calvarola 
fecit Bergame 1767. 

Calzavara Santo, Padua, 1764. The question whether 
he made also violins remains open. 

Santo Calzavara fece 

in Padova I'anno 


Camberini Giambattista, Florence, 18th century. — 
Perhaps a member of the Giamberini family. A very 
carefully finished three-stringed contrabass of beauti- 
ful wood is in London. 

Camilli Camillus, Mantua 1704- 1754 (ace. to R. Van- 
nes active from 1730 till 1762). Allegedly disciple 
of Stradivari and Guarneri (del Gesii); Hamma re- 
ported him to have been a pupil of Antonio Zanotti. 
He may have learned the rudiments of violin making 
from Stradivari and worked then with Zanotti and 
Pietro Guarneri I. Some features of his work remind 
of Pietro Guarneri, while others show traces of Stra- 
divari's and Zanotti's influence, but the whole is 
highly individual. Camilli worked carefully, used 
wood of excellent acoustic qualities and applied a 
characteristic varnish, generally orange-coloured or 
bright red, at times also brown-red or dark red. The 
tone of his instruments is excellent, sweet and carry- 
ing. Price 50-80.000 Kc. 

Camill . . de Camilli 
fecit in Mantova 1760. 

Camillus Camilli fecit 
Mantuae 17 . . 


Camillio Davide, Cremona. 1755. Worked on Nic. 

Amati's pattern. Mediocre workmanship. 
Campetti Lorenzo, Lucca. 1833. 
Campi Giuseppe, Pescina. 1760—1762. Worked well, 

but his instruments lack the master-touch. 

Giuseppe Campi fece 
in Pescina Anno 1762. 

Josephus de Campis 
in Pescina Ao 17 . . 

Camploy J., Verona. 1854—1860. Imitated the varnish- 
es of the Cremonese masters. 

Candi Cesare, Genoa. Born in Bologna, March 5, 1869, 
pupil of R. Fiorini, d. Sept. 29, 1947. Successful and 
diligent maker of many kinds of instruments, good 
workmanship. Exhibited a violin and a viola in Cre- 
mona 1937. 

Candi Oreste, brother of Cesare Candi, 1865—1938, 
pupil of R. Fiorini in Bologna, active in Genoa. 

Capicchioni Marino, Rimini (Forli), Via Chiacciale 3, 
b. June 29, 1895. Exhibited two violins, a 'cello and 
a stringed quartet at Cremona in 1937. Instruments 
of fine craftsmanship, wonderful varnish. 

Marinas Capicchioni 
Fecit Arimini A. D. 19 . . 

Capo, Milan. 1717 — 1718. A violin of beautiful, ele- 
gant shape survives, with delicately cut sound-holes. 
Length of belly and back 354 mm. The violin bears 
a parchment label. 

Capo Antonio, Cremona 1796. Otherwise unknown. 

Cappa Gioachino and Giuseppe, Saluzzio. Turin. 
1661 — 1725. — Brothers who worked jointly on the 
pattern of Goffredo C. Their work is of masterly 
craftsmanship. It is not known whether they were 
relatives or just pupils of Goffredo Cappa. Price 
30-50.000 Kc. 

Cappa Giuseppe, Francesco, Saluzzio. 1600—1645. 
The oldest known master of the Cappa family. 

Cappa Goffredo, Saluzzio, Turin. Born in Saluzzio 
1644, died Aug. 6, 1717. Son of Andrea Cappa 
from Finalborgo, reportedly pupil of Nicolo Amati. 
Worked on the pattern of Nicolo Amati and suc- 

ceeded in imitating the latter's style in a faultless 
way, differing only by the somewhat broader arching 
and by the shape of the sound-holes. Built instruments 
of different sizes, mostly of large pattern, using best 
wood. Yellow and red-yellow varnish. Many of his 
instruments unfortunately bear faked labels of out- 
standing masters. His pupils were: G. Francesco Ce- 
loniatus, Giuseppe Francesco Catenari, Nic. Giorgi, 
Domenico Bombirio at Villa Franca, Spirito Sorsano 
at Coni, as well as Carlo Gius. Testore in Milan. 
Price 50—65.000 Kc and more. Hamma quoted 
15.000 M. 

Caprari Francesco, Rollo c. 1850, mandolin maker. 
Carahha C. V., Catania (Sicily), 19th century man- 
dolin producer. 
Carcassi Antonio Felice, Florence 1773. 

Antonio Felice Carcas 
fece in Firenze 1773. 

Carcassi Francesco, Florence 1735—1760. Careful 

work, deep yellow varnish. 

Carcassi Giovanni, Florence, ca 1775 was not a violin 


Joannes Carcassi fecit 

Anno Domini MDCL XXXVIII. 

Carcassi Lorenzo e Tommaso, Florence 1745 — 1767. 
Worked on a large, somewhat higher arched pattern. 
Good workmanship, small and nicely cut soundholes, 
yellow and yellow-brown varnish. Price c. 30.000 Kc. 


Dalla Madonna de Ricci in Firenze 

L Anno 1757 

Ristaurato da me Lorenzo Carcassi 

dalla Madonna de Ricci in 

Firenze 1740 

to.m:^ .carcassi 

7t In Firen/e ncli' Anno it-j.s 


.Ml'lnfegna del GigHo. 

'>««Mivs>.*cvii5'»*es»»>»€)i*>i6l s^!>»»eii i« 9«^»* 



Carcassi Salvatore, Florence ca 1802 specialized in 
guitar making; violins are rare. 

Carcassi Tommaso, Florence. 1747—1786. Worked 
in company with his brother Lorenzo Carcassi 
(under the firm of Lorenzo e Tommaso Carcassi). 
Tommaso's workmanship is superior to that of his 
brother. He built for the most part instruments of 
smaller size with the purfling close to the edge. Price 
of violins 45—120.000 Kc, according to beauty of the 



Carcassi Vincenzo, Florence 1790 — first decades of 
the 19th century. Son and pupil of Tommaso Car- 
cassi; little known. 

Vincenzo Carcasi 

face Piazza S. Michele Firenze 


In the Carcassi family it has not been possible to 
ascertain the bonds of relationship. It has only been 
proved that Lorenzo (1737—1775) and Tommaso 
were brothers. But it is not at all certain whether 
Francesco (1735—1758) was son of the spinet maker 
Giovanni (1688—1698) and father of Tommaso and 
Lorenzo or not, although both is possible. It is 
not known whose son was Antonio Felice Carcassi 
(1773), whether Lorenzo's or Tommaso's. Vincenzo 
may have been the son of Antonio Felice and father 
of Salvatore. 

Cardi Luigi, Verona. 1857. 

Cardillo Luigi, Naples. 1790 — 1799. A good master. 

Carletti Carlo, Rome. End of the 19th century. Worked, 
very carefully, on Stradivari's pattern. The scrolls 
of his instruments are beautiful, the edges of belly 
and back somewhat raised and the outline of the 
beautifully cut sound-holes is very pleasant. 

Carletti Carlo, Pieve di Cento (Bologna), b. Aug. 13, 
1873, d. March 2, 1941. Varnish orange or red. 
Exhibited a viola and a 'cello at Cremona in 1937. 

Carletti Carlo 



Carletti Giovanni, Verona, Via G. Gamboni 40. Ex- 
hibited a viohn at Cremona in 1937. 

Carletti Natale, Pieve di Cento (Bologna) b. Sept. 24, 
1904, son and successor of Carlo Carletti. 



PIVE DI CENTO (Bologna) 

Carletti Orfeo, Pieve di Cento (Bologna) 1873-1944, 
exhibited a whole quartet at Cremona in 1937. 

£ece in Pieve di cento 
(Bologna) Anno 19 . . 

Carletto Orfeo di Carlo 

fece in Five di Cento 


Carlo Giuseppe, Milan 1769. Violins of inferior quality. 

Carlo da Pesaro, Pesaro, 1682. 

Caroli, Brescia, 1681. — Mandolin maker. 

Carone Giuseppe, Naples, 1883. — Mandolin maker. 

Carotti C, Florence. 1694. 

Caruana Biagio Marsigliese, Rome, Via Crescenzio, 

b. Nov. 28, 1885, exhibited a violin, a viola, a 'cello 

and a contrabass at Cremona in 1937. 
Casaltoli (Casattoli?) Giuseppe. Florence, 1714. — 

Lute maker of good name. 
Casella Fratelli, Catania (Sicily). Makers of indifferent 

stringed instruments. 
Casale. Rome. 20th century. 



Via Emiitta«1« FillbeHo 

Caselli Francesco (Catania) 1740. 

Fece Francesco 
Caselli 1740. 

Casiglia Casimoro, Palermo, 1869. Skilled imitator of 
old masters: built good instruments coated with 
golden-brown varnish. 

Casini Lupo, Florence. Born May 22, 1896 at Campo 
Bizenzio near Florence. Son and pupil of Serafino 
Casini. He developed a model of his own and applied 
oil varnish on pink or yellow ground. He exhibited 
a violin at Cremona in 1937. 




Casini Serafino, Florence. Born 1863 at Campi. A skill- 
ed master who worked on various patterns, yet 
endowing them always with characteristics of his 
own. He applied oil varnish of different colours. 


mostly pink on yellow ground and red in a shade of 
dragon's blood. He was honoured with the golden 
medal of Milan in 1910. 

Anno 1932 FIRENZE 

Caspan Giovanni Pietro, Venice. 1658—1670. He was 
a pupil of the Amati brothers and worked well in 
their manner. His violins are mostly of small shape 
and coated with yellow varnish. His Amati imitations 
are good. Price 16.000 Kc and more. 

Cassanelli Giovanni, Ciano (Modena) 1770—1777. 
Violins of medium quality: brown varnish. 

Cassanelli, Ciano, 1780. Used yellow varnish. Instru- 
ments of his making cannot be called masterpieces. 

Cassarano Ernesto e Figlio, Rome. Contemporary ma- 
nufacturers of musical instruments. 

Cassini A., Modena. 1630—1710. Worked on the pat- 
tern of Nic. Amati. The large pattern of his instru- 
ments (violins, violas, 'cellos and contrabasses) is 
beautiful. Best are his imitations of the grand pattern 
of N. Amati. The large scrolls and the soundholes 
are beautifully cut, the purflings tastefully finished. 
He used light brown or chestnut-coloured varnish. 
Although his instruments are of good workmanship, 
their tone is not of the best. A viola made by him in 
1667 measures 410 mm in length. He died, accord 
ing to Valdrighi, in 1690, according to Liittgendorff in 
1698; not long ago, however, was found a violin of 
his making, considered genuine, but labelled 1710, 
so that he probably died in 1710 or later. Price 
20-30.000 Kc. 

Antonius Cassinus. 
fecit Mutinae anno 1687 

Antonius Cassinus. 
fecit Muttinae anno 17 . . 

A. Casini Modenae 1665. 

Antonius Casini fecit Muttinae 
anno 1683. 

Antonius Casini 
fecit Mutine anno 16 . . 




* *" 


•5 i ' 






^$H,., , 


^ * 

.- ' -■ ^- ' 







Cassini Giovanni Battista, Carrara. 1687. 
Castagnino Giuseppe, Chiavari (Genoa), Via Entella. 
Exhibited two violins at Cremona in 1937. 

Giuseppe Castagnino 


all'ESPOSIZIONE di Milano 1906-Torino 1911 

Fece in Chiavari anno 

Castaro Antonio, Rome, 1615. 

Castellani Bartolomeo, Florence, 1806—1820. Devoted 
himself to the making of guitars. 

Bartolomeo Castellani 
fece in Firenze I'anno 
• 1816 in Via da S. Trinita. 

Castellani Luigi, Florence, Born 1809, d. 1884. He was; 

a very good hand at the repairing of instruments by 

old masters. 
Castellani Pietro, Florence, Born 1780, dead 1820. 

Made besides violins also guitars and mandolins, 

Applied deep red varnish. Price 10.000 Kc. 
Castelli Cesare, Ascoli (Piceno) b. Nov. 27, 1912, 

Varnish yellow or light brown with a pink tint. 

Cesare Castelli 

fece anno 19 . . No 

Ascoli in Piceno. 

Fecit anno 19 . . N 

Castelli Tommaso, Brescia. 1623. A surviving violin by 
him shows C-shaped instead of /-shaped soundholes. 
The scroll is carved in the shape of a beautiful girl's 

Tomaso Castelli 
fecit a Brescia 1623. 

Castello Paolo, Genoa. 1750-1780. Worked on the 
patterns of Amati and Stradivari. His instruments 
with low archings show wide flat edges, unhandsome 
corners, gracefully cut sound-holes, a handsomely 
carved large scroll on a rather thick neck. The wood 
is not always of best quality. Good yellow varnish. 
The tone of all his instruments is good and mellow. 
Price 20-25.000 Kc. 

Castorini Lorenzo, Aci Reale (Sicily). 19th century. 
Mediocre violin maker. 

Lorenzo Castorino 
Abitante in Aci Reale. 

















w ^^ ■'-**•■ 

I m 













s"*!®!^ 's^\*''''-'*^-r^(?i* '»**. 

37. Gasparo da Salo (G. Bertolotti), Brescia, 1580 









40. Gasparo da Salo, 1601 





42. Jacopo Brandini, Pisa, 1797 


















Castro, Venice, 1680—1720. Instruments of his making 
are not of eye-pleasing shape, although he worked 
on Stradivari's pattern. The wood and his red var- 
nish are good, but the sound-holes are of ungraceful 
cut. Best are his contrabasses. Price 12— 15.000 Kc. 

Castro fecit Venetiis 
Anno 1684. 

Catenaro Gaetano. Pavia. 1639 — 1670. Built violas 

and gambas. 

Gaetano Cattenaro 

Fecit Paviae Anno 1670. 

Catenari Giuseppe Francesco, Turin 1703— 1720. Made 
violins of large pattern. Used deep red or red-brown 

Joseph Franciscus Catenar 
Fecit Taurini anno. 1720. 

Catenari (Cattinari?) Francesco, Turin. Early part of 
the 18th century. Instruments by him are highly 
arched; brown-red or deep red varnish, conscien- 
tious workmanship, good tone. Price 20.000 Kc. 

Francesco Cattinari 
Fecit Taurini Anno Domini 17 . . 

Catenari Enrico, Turin, 1671, still lived in 1746. 
Cappa's pupil, worked on Stradivari's pattern. 

Henricus Catenar 
fecit Taurini anno 1671. 

Enrico Catenar 
in Turino 1703. 

Cateni Pietro. 1722. 

Cati Pierantonio, Florence. 1738—1760. Worked on 
the patterns of Stradivari and Gabrielli. He did 
not always select good wood. Used brown-orange- 
coloured varnish. The tone of his instruments is of 
average quality. 



.fetiHS Antontus Cati Florcntinvw 

■::;■-. -nLmi- . - — i^,.- ■ .-'■^■■-, •.>■,- Vat. 

Cati David, Florence 19th century. 
Cattenaro Gaetano, Pavia 1639—1670. Few instru- 
ments are known, no viohns with his label. 

Gaetano Cattenaro Fecit Anno 1657. 

Cavada Fortunato, Molina di Fiemma (Rovereto), ex- 
hibited a violin and a 'cello at Cremona in 1937. 

Cavaleri Giuseppe, Genoa. 1732— 1747. Worked after 
Stainer's fashion. His instruments are of graceful 
shape, rather small with high arching, small sound- 
holes cut in Stainer's manner, narrow edges, small 
short corners. He applied good varnish of splendid 
lustre. The tone is neither powerful nor mellow. 
Cavaleri was more of a businessman than violin 
maker. Price 25.000 Kc. 

no la 



Ic^teph CavaWt led 

I Genu8e anno salutis t'fs 

Cavalli Aristide, Cremona. Born 12. 4. 1856 at Cre- 
mona, d. Jan. 16, 1931. Pupil and successor of 
G. Beltranni. Gracefully shaped instruments coated 
with red varnish. 

«A»8?.t\V.ALLl h 81'ni Alls 

Fecera Cremfiroa aufsu '.' 

Cavalli Lilio, Cremona, b. June 2, 1883, son and pupil 
of Aristide Cavalli. 

Cavalli Savino, Cremona, c. 1850, dead 1861. The finish 
and the tone of his instruments are good. 

Cavallini Luigi (1831 — 1903) and his son Oreste 
(1868 — 1938) specialized on contrabasses and made 
improvements on them. They lived at Arezzo. 

Cavallini Luigi & Figlio, Arezzo, 20th century pro- 
ducers of various musical instruments. 

Cavellini Giovanni, Arezzo, b. Aug. 13, 1851, d. June 
21, 1936. Skilful violin maker. 

Cavani Giovanni, Spilamberto (Modena), b. Aug. 13, 
1851, d. June 21, 1936, successful violin maker who 
preferred the model of Guarneri del Gesu; was aided 
by his son (after 1950) and signed then Giovanni 
Cavani & Figlio. 

Cavani Vincenzo, Spilamberto (Modena), son and 
pupil of Giovanni Cavani, b. Nov. 8, 1889, exhibited 
a violin and a 'cello at Cremona in 1937. He imi- 
tated the forms and colours of Pietro Guarneri I. 


Cavani Vincenzo 

da Spilamberto Modena 

Fece Anno 19 . . 

Cavani Vincenzo a. del. p. Giovanni 
Fece in Spilamberto A. 19 . . 

Cecco Christoforo, Venice, 1654. — Lute maker. 
Celani Emilio, surnamed "il Turco", Ascoli, Piceno, 

b. July 4, 1866, d. July 18, 1898. Skilled craftsman 

who made good repairs. 

Emilio Celani 

detto il Turco 

Fece in Ascoli Piceno 


Restaurato da Emilio 

Celani Costantino, Ascoli, b. Apr. 15, 1869, brother 
of Emilio Celani, productive and successful master, 
also teacher at a school of violin making. 

Costantinus Celanius 

Emidii frater vulgo il Turco 

Asculi in Piceno fecit An 19 . . 

Celani Costantino 
fece in Ascoli Piceno 1900 

Celentano Michael Naples. Mandolin maker. 

Cellini Giovanni, Florence. Born 1460, died 1527 or 
1528 in Budapest. Built violas, lutes and harps. 

Celoniatus Gian Francesco, Turin (1725—1742, date 
of birth unknown). Pupil of Goffredo Cappa from 
whom he took over the Amati-like outline. His 
archings are, however, lower, the edges flat. Good 
workmanship. He was at the same time influenced 
by Carlo Bergonzi, e. g., in his gracefully cut sound- 
holes. The scrolls are carved with much taste and 
remind us of Stradivari. Praised for his lustrous, 
transparent varnish of fine quality, golden-yellow 
or golden-brown. Outstanding both for beauty and 
tone are his 'cellos (one of them was sold as early 
as 1905 for 4000 K of old Austro-Hungarian cur- 
rency). Hamma does not praise the tone of his 
violins; the typical specimen on our picture has, 
however, a sweet and carrying, though not a very 
powerful tone. Price 32—50.000 Kc. 

Joannes Franciscus Celionatus fecit 
Taurini anno Domini 1737. 

Joannes Francifcu s Celoniatus 
/^dt Taurini Anao 17? 4- 

J fecit raurmi Anno ly^f ? 

Centurio Giuseppe, Padova. 1750—1780. Worked on 
Amati's pattern. 

Jos. Centurio Tiburtinus f. in Padua 1780. 

Cerin Marco, Venice, 1610. 
made mandolins. 

Lute maker who also 

Marco Cerin fece in Venezia 1610. 

Cerin Marco Antonio, Venice. 1780—1824. Pupil of 
Anselmo Bellosio; worked on Stradivari's model, 
often also on the grand pattern of N. Amati. Careful 
workmanship. He applied a beautiful light-yellow or 
reddish varnish. Some of his instruments bear De- 
conetti's or Bellosio's labels. Price 30 — 40.000 Kc. 

Maixus, Antoiuns, Curlu, iXliutmus 
jAiifclmii , BcMl , Fecit Vcnctiae An. 3794 

Cerutti Enrico, Cremona, Born 1808, d. Nov. 20, 1883 
Son of Giuseppe Cerutti. He seems to have been 
a pupil of Giambattista Cerutti, for he worked on 
the latter's pattern. During his life-time he built 
400 violins, all of good workmanship. He applied 
amber-yellow varnish; his instruments have charac- 
teristic full edges. Price 25.000 Kc. at least. (The first 
violin maker of the family Cerutti was Sebastian 
who worked as early as 1617. But after him there 
is a break of almost 150 years. There may have 
been men during this period whose works have not 
come down to us under their own names. Giovanni 
Battista Cerutti, who lived already in Cremona 
(1755-1817), was the father of Giuseppe (1787- 
1860) and grandfather of Enrico (1808- 1883) who 
also stayed at Cremona.) 

ncm Ceruti fecit 

Cretnooae a'hno iS^i: E.F,Cl 


Cerutti Giov. Battista, Cremona. Born 1755, dead after 
1817. Pupil of Lorenzo Storioni and after 1790 fiis 
successor. Worked on the patterns of Stradivari, 
Guarneri del Gesii and Nic. Amati (large model), 
but also on a pattern of his own. His instruments 
are carefully built of well selected wood, usually 
coated with varnish varying from light agatine 
yellow to dark red. Very good tone. It is his pecu- 
liarity that the belly is sometimes darker than the 
back. The best instruments of his making are his 
'cellos. Price 30-40.000 Kc, 'cello more. 

>S jo: Baptista Cerud Cremonen^ 
« ' fecit Cremonx An. iSO^ 

Cerutti Giuseppe, Cremona. Born about 1787, died 
1860. Son, perhaps also pupil and successor, of Gio- 
vanni Battista Cerutti. His work is very similar to 
that of his father, differing in one respect: Giuseppe 
made somewhat broader edges and purflings. The 
scrolls and sound-holes are gracefully cut. His best 
instruments bear besides a label the brand G. C. 
They are highly valued. He was renowned for the 
splendid way he repaired instruments by old mas- 

Josephus Cerutti filius Joanis Baptis- 
ta Cremonensis fecit anno 1830. 

Joseph Ceruti filius Joannis Baptistae 
Cremonensis fecit anno 1844 G. C. 

Cerutti Sebastiano (Piemont) ca 1615. Lute maker. 
Place and works unknown. 

Cervo Giovanni, S. Angelo. 1489. Ancient lute maker. 

Chelz Stephan, Rome. Cca 1602. Lute maker. 

Chiarelli Andrea, Messina. Born at Messina about 
1675, died 1699. Lute maker and virtuoso on the 
archilute. He was also a composer. Worked in the 
style of G. P. Maggini. His violins have a double 
purfling like those by Maggini. He applied a deep 
red varnish. Price 15.000 Kc. 

Chiareschi Paolino, Bagno. Cca 1827, built good in- 

Chiari Francesco, Villa Minozza (Modena). 1880, 
1883. A violin maker who also did very good re- 
pairing work. 

Chiavellali Domenico, Lonigo. Cca 1780—1796. Built 
good violins and violas. Price 12.000 Kc. 

Domco Chiavellati 


L'anno 1796 

In Lonigo. 

Chiocchi Gaetano, Padua. Born Jan. 13, 1814 at Mo- 
selici near Padua, died after 1880. He applied him- 
self more to repairs, which he executed in a masterly 
way, than to the building of new instruments. Dur- 
ing his lifetime he made only about fifty violins. 

Chiocchi Gaetano fece in Padova 1866. 

Chiochini Pietro, Pisa. 1740—1760. Second-class in- 
struments, although he used fine wood. 

Chiodi Giambattista, Florence, 19th century, worked 
on the model and in the style of Lorenzo Carcassi. 

Chisole Antonio (di), Roveredo, ca 1784. Built mostly 
contrabasses in the style of the Tyrolese school. 

Antonius de Cchisohs 

fecit 1784. 

Antonius de Cchisolis 
facebat Boboreti . . Opus II. 

Cianchi Sebestiano di Rocco, Florence. 1662. Violin 

and lute maker, son of a Rocco Cianchi. 
Cianihri Gaetano, Ascoli, after 1818 built good 'cellos 
and contrabasses of small size, using yellow and 
orange varnish. 

Gajetanus Cianibri 
Asculanus fecit anno Domini 1818. 

Ciarma Domenico, Ascoli, 1836 — Feb. 17, 1889, a self- 
taught maker, followed Stradivari, but made also 
guitars and mandolins; reputed for his 3/4 contra- 

Ciarma Francesco, called "Nicchito", Ascoli. 19th 

Ciarma Nazzareno, Ascoli, b. Apr. 26, 1879, was son 
and pupil of Domenico, and made the same kind of 

Ciarma Nazzareno fece in Ascoli nel 1906. 

Cinquegrani Ercole, Rome. 1882. Mandolin maker. 
Cinti Giuseppe, Bologna. 1856. Very good repairer of 

Ciochi Antonio, Venice 1790. 

Antonio Ciochi di Venezia 
anno 1790. 

Cioni Emilio, Mont' Orso (Frignano). 1884-1894. 

Assiduous, disciple of R. Fiorini. 
Ciotti Leone, Siena. 1889. 
Circapa Tommaso, Naples. 1730—1735. Worked on 

the pattern of Alessandro Gagliano. Instruments of 

his hand are good; he applied orange-yellow varnish. 

Price 20.000 Kc. 


Circapa Tomaso fecit Neap. 1733. 

Citared Francesco Urbinas, Cisterna. 16th century. 

Quoted, but unknown. 
dementi Pietro, Cremona. 1678. Instruments of small 

pattern, yellow varnish. 
Cliricato Luigi, Venice. 1899. Pupil of E. Degani. 
Cocks Christoforo, Venice. 1654. Good lute maker. 

Christofer Cocks AH' insegna 

Deir Aquila d'Oro 

Venetiae 1654. 

Colombo Camillo, Milan, Viale Col di Lana 13. Ex- 
hibited two violins at Cremona in 1937. 

Colonardi Marco, Cremona. 17th century. Mere name. 

Comel Stefano, Gorizia, Via Scuola Agraria 7. Ex- 
hibited two violins at Cremona in 1937. 

Compare Vittorio, Livorno (Leghorn). 1898. Mando- 
lin maker. 

Compostano Antonio, Milan. 1690—1710. Worked 
carefully. His instruments, resembling those by 
Giov. Bapt. Crancino, have often been sold as ge- 
nuine Grancinos. The gracefuly carved scrolls are 
rather large, the sound-holes of beautiful shape and 
well cut. He selected fine wood, only the maple 
seems not to have been well seasoned, for it shows 
signs of warping. The tone of his instruments is 
rich. He built violins, violas and contrabasses and 
labelled them with written or printed labels. Price 
25—35.000 Kc. Mockel quotes only half the price. 

Antonio Compostano fece in Milano in 

contrada Larga 17 . . 

Antonio Compostano Fece in Contrada-Larga 

Milano 1799. 

Joannes Consili 
fecit Interamnae 
Anno Dni 1828. 

Contavalli Luigi, Imola. Born at Imola Oct. 24, 1862. 
Built instruments of his own model, resembling those 
of Stradivari. Applied a clear golden-yellow or yellow 
varnish. His instruments are of careful workmanship 
and have a mellow, yet sometimes nasal tone. For his 
finish, pleasing to the eye, he was awarded several 
prizes of distinction. 


net !9©^~ Ift Im4l. 

Contavalli Primo di Luigi, Imola, Via Valsalva 13. 
Born at Imola in 1899. Son and pupil of Luigi Con- 
tavalli. Worked on the model of Stradivari, but 
made the soundholes in the style of Guarneri. Con- 
tavalli junior's instruments are free from the nasal 
and metal timbre of the instruments built by his 
father. By his experiments he also improved the 
quality of varnish. He exhibited two violins, two 
violas and a 'cello at Cremona in 1937. 

:i^lb»-*»a»« • 

Comuni Antonio, Piacenza. 1820— 1823. Worked on 
the pattern of J. B. Guadagnini II. 

go Antonios GoMuni 

I fecit Placentiae Anno i82^ 

Consili Giovanni, Terni. 1828—1829. Probably an 
experimenting amateur. 

Giovanni Consigli a Terni invento 

la nuova forma del Violino 
per eseguirvi con maggior facl- 

lita e sicurezza la difficolta 

nelle portamenti acuti op. quart. 

A. 1829. 

i««<i«iii..«tiE»%3raite s'svsiii*"^****?* 

Contegiacomo Giovanni, Turin, beginning of the 20th 
century: manufacturer of musical instruments. 

Conti Luigi. Florence b. Feb. 17, 1891, was a piano 
tuner, later also violin maker and indulged in naive 


Contino Alfredo, Naples. Born Feb. 2, 1890. The only 
pupil and successor of Vincenzo Postiglione who, 
like his teacher, imitated old masters in an excellent 
way and with particularly delicate taste. He applied 
golden-yellow or red oil varnish. Many prizes of 
distinction and diplomas were conferred upon him 
for his careful workmanship. 


allievo di V. Postiglione 

Napoli, anno 1914 

V Alfredus Contino 

■ i ji fWmjntd alCiitircrsi- )i i luipj-in m FOMA. 
utiiro allivv,, Ai V Pi.'^ T'.OV- JONE 

Coppi Sante de, Mantova. 1800—1817. Built violins 
of good tone. 

Sanctus de Coppi fecit 
Mantoae Anno 1815. 

Coppo Armando, Naples. 1608. Good lute maker. 
Coppo Raffaele, Naples, was disciple of Antonio II 

Corara Giacomo, Venice. 1775. Violin maker who built 

instruments of medium quality. 

Giacome Corara 

fecit in Augo 1775 

Venezia No 3 

Cordano Giacomo Filippo, Genua. 1750— 1780. Work- 
ed on the grand pattern of Amati, made rather high 
archings according to Francesco Ruggeri and short 
sound-holes in the style of Stainer. All his instruments 
possess gracefully finished purflings, narrow edges 
and large scrolls of delicate cut. He applied good 
orange, or brown-red varnish. Instruments built on 
the Amati model are better in tone. Price 20.000 Kc 
at least. 

lacobos Ptnippus Cordanus 
fecit Genux. Anno lai 1 774 

Corna Giovanni Giacomo dalla ... — see Dalla Coma. 
Cornelli Carlo, Cremona. 1702. Price 15.000 Kc. 
Little known. 

Carolus Cornelli fecit 
Cremonae anno 1702. 

Cornelli Giorgio, Venice, 1797. Skilled violin maker 
who built instruments of low arching. Applied a 
wonderful red varnish. Price according to the merits 
of the specimen. 

Cornia Giuseppe, Iddiano (Modena). 1884—1894. 
Built good contrabasses. 

Cornino, Spilamberto (Modena). 180 . . 

Corradotti Luigi, Rome 19th century. Violin maker 
who also devoted himself to mandolin making. 

Corsi Giuseppe, Rome, b. 1876 in Rome, d. 1931, was 
violincelUst and a good amateur. 

Giuseppe Corsi fece in Roma 
Anno 1900 No. . 

11 ill iQlito LabBfatOfie Liiiilstito ^ 


ff^MA^VlA ftlOtlA 187-B - ffo 

Corsini Giorgie b. 1913 in Tivoh, a graduate of the 
Academy of Music in Rome, won distinction at the 
International Exhibition in Cremona in 1937; re- 
puted for repairs. 

ROMA 1949 

Corsini Pietro, Arcidosso (Toscana) made harps 
(1652); hardly a violin maker. 


L'ANNO 1652 

Pietro Corsini 


Cortaro Antonio, Rome. 1614. 

Cortese Andrea, Genoa, b. 1889, a skilful maker, 

admirer of Pressenda's style and tone, followed this 

master's example. Used red varnish. 

Andrea Cortese all insegna del 
tre conti in Genova 19 . . 

Cortesi Carlo, Pesare. 1612. Built violins of full arch- 
ing in the style of Gasparo da Said. Price 15.000 Kc, 
tolerably preserved specimens more. 

Carlo Cortesi. 


Cosetto Giuseppe, Venice. 1760—1790. Large pattern 

instruments of carefully selected wood, worked with 

exemplary craftsmanship; particularly remarkable 

for their beautiful cut are the scrolls and sound - 

holes. Length of violin 364 mm. The belly and back 

of his instruments are rather thick throughout, 

which makes them heavy. Price c. 20.000 Kc, at 


Giuseppe Cosetto Fecit 

anno 1786 Venezia. 

Costa di, Agostino, Verona. 1600—1622. Lute maker 
who had come from Brescia. 

Costa di Agostino di Brescia 1600. 

Costa Antonio, b. Aug. 23. 1891 in Bertinoro (Forli), 
worked for the most part in Forlimpopoli Capo- 
colle. Stradivari and Guarneri patterns, yellow or 
golden-red varnish. 

Utemjiiormt ottos/ecenipi - 

Costa Felice Mori, Parma. 1802-1812. Worked in 
the style of C. F. Landolfi, but took higher archings. 
The distance between the upper parts of the sound- 
holes is smaller than that designed by Landolfi. 
Price 15.000 Kc., some red varnished instruments 
reached a price of 50.000 Kc. 

Mori Costa Felice in Parma 1802. 

^ Felix. Mori Co^t.^, (^8,' 

Fccil Parinae 

anno iSo 



Costa Giovanni Baptista, Venice. 1765— 1778, Worked 
in the style of Santo Seraphin (he was perhaps the 
latter's pupil) and on the pattern of Stainer. In- 
struments of his making are of a rather high and full 
arching, careful finish and good smooth tone. Price 
of violin 25-80.000 Kc. 

Costa Lodovico, Urbino. 1786. Little known. 

Coste Alfonso della, Naples. 1876. Built excellent 'cellos. 

Cotugno Giovanni, Ancona, Via Duomo 3. Exhibited 
a violin, a viola, a 'cello and a stringed quartet at 
Cremona in 1937. 

Cozzi Battista, Venice 19th century. Devoted himself 
mostly to repairs. 

Craile (also Grail) Magno, Rome, b. c. 1572, d. Feb. 
22, 1642 — was famous for his lutes which are now 
cherished relics. Probably a native of Augsburg. 

Craile Pietro (Peter), Rome 1617, d. Apr. 14, 1649, son 
and helper of Magno Craile. 

Cricca Alfonso, Ferrara. 1591. Organ-builder who 
constructed also lutes. 

Cricca Giulio, Ferrara, 1594. Brother of Alfonso. 

Cristofaro E. de, Naples, Paris. Born Feb. 11, 1870. 
Built excellent mandolins. 

Fabricazione Artista 

di Mandolini e Mandole Napoletani con nuovo 

sistema triplicando la sonorita. E. de Cristofaro 

199 bis Via Mergellina Napoli. Vendita e deposito 

a Paris. 

Cristofori Bartolomeo, Florence. Born about 1667 in 
Padua, died in Florence after 1731. From his thir- 
teenth year he was a pupil of Nic. Amati. In Florence 
there was a beautiful contrabass of his making, and 
in Munich a 'cello dated 1716. Rare — the collector's 
price is high. 

Bartolomeo Cristofori Firenze 1715. 

Cristoni Eusebio, Modena. 1847—1883. 

Crugrossi Vincenzo, Florence. 1767. 

Curaloli Alfredo, Naples since 1885, producer of gui- 
tars and mandolins. 

Curatoli Antonio. Naples c. 1900, son and partner of 
Alfredo Curatoli, manufactured guitars and man- 

Curletto Anselmo, Turin, b. 1888 in the same city, 
probably pupil of Enrico Marchetti in Turin, copied 
Pressenda, applying red varnish. 


Cutugno Giovanni, Ancona and San Benedetto (As- 
coli), b. June 2, 1894 in Calabria, followed Stradi- 
vari and Guarneri del Gesii; varnish (oil almost 
always) yellow or red. 



Dagli Instrumenti Marco (i. e. Marco, the instrument 
maker, or M. in charge of instruments), c. 1541, was 
in the service of Alfonso d'Este in Ferrara. 

Dal Chitarrino Biagio, Ferrara. 1464—1467. Known 
as a good lute player in 1445—1446, later as a lute 
maker. Works lost. 

Dalla Coma Giovan Giacomo, Brescia. Born about 
1484, died after 1548. Son of Giovan Maria dalla 

Dalla Corte Alfonso. Naples 1828-1882. Built in- 
struments in the style of Nicolo Gagliano, with lower 
archings, wide edges and scrolls, which are not al- 
ways well carved. He applied a varnish of various 
shades, mostly lemon-coloured. Price c. 25.000 Kc. 

Dalla Costa Marco, Treviso. 1640—1680. Only a three- 
string pochette made by him survives. 

Dalla Costa Pietro Antonio, Treviso, Mantua, Venice, 
1700—1768. Worked on the models of Stradivari 
and Nic. Amati. Valuable instruments, made of 
beautiful wood, good workmanship. Golden-yellow, 
red-brown or dark-red varnish. Price 60 — 80.000 Kc. 

Cremonenses Filii Andrae Tarvisii Anno 1757 

Petrus Antonius a Costa fecit 

Tarvisii, anno 1740. 

Petrus Antonius a Costa fecit ad 

Similitudinem illorum quos fecerant Antonius 

& Hieronymus Fratres Amati. 

Petrus Antonius a Costa 

fecit Tarvisii, anno 17 . . 

Pietro Aritoulo dalla Cofta 
fece m Trevifo Anno 174/ 

^l A rt mn"^ * ■^ 

^ pietro-. Antdnla ' ^atfa^Bijfti 1 

Dall Aglio Giuseppe I., Mantua. 1723-1775. 

Giuse(jpe dall' Aglib, 
Fecii Mamue i-^^^ 

Dall Aglio Giuseppe II., Mantua. 1795-1840. Violin 
maker who worked in the style of Camilli and Pietro 
Guarneri. His activity belongs to the end of the 18th 
and the early part of the 19th century. He made 
instruments with a higher arching, worked conscien- 
tiously and applied a wonderful yellow varnish. His 
'cellos are excellent. Value 16-24.000 Kc. 

Joseph dair Aglio fecit 
Mantua, anno 17 . . 

Dalla Porta Marc Antonio, Venice. 1601. Good lute 

Marc Antonio dalla Porta 
in Venecia MDCI. 

Dair Hocha Casparo, Ferrara. 1568. 

Dall' Oglio Domenico, Padua, Born 1700, died 1765 

in the town of Narva. Good violin and lute maker. 

Used handsome wood, his varnish, however, was not 

of desirable quality. He died on his way back from 

Russia to Padua. 
Dair Ongaro Ignazio, Venice. 1747—1783. Indifferent 

violin maker. Price 10.000 Kc. 
Dair Osso Umberto, Bologna, b. 1888, opened his shop 

at Bologna in 1920 and specialized in guitars. 
D'Ambrosio Antonio, Naples (1817) made guitars and 


Antonio d'Ambrosio in Napoli Anno 1817. 

D'Amelio Teresa, Rome, Piazza Prati Strozzi 26. Ex- 
hibited three violins at Cremona in 1937. 

Daniele, Verona. 18th century. Violin and lute maker. 

Danieli Giovanni, Padua. 1745—1785. In his later 
years he worked jointly with Pietro Bagatella. Price 

c. 10.000 Kc. ,,.,.. t. . „ 
Darnell et Bagatella 

fecerunt Patavii Anno 17 . . 

Joannes Danieli fece Patavii 

Dardelli Fra Pietro, Mantua. 1497-1500. A Fran- 
ciscan friar who worked with fine craftsmanship. 
Instruments made by him are excellent. Violins are 
not reported. ^^^^^ ^^^^^^^. ^^^^ 

D'Avenia Carlo, Naples, 1788. Pupil of Alessandro 
Gagliano. Skilful mandolin maker. Professor Dr 
A. Bensande of Lisbon had a 'cello by him bearing 
a written label. 

D'Avenia L., Naples. 1888. 


Davini Giusto, Lucca, 19th century. Little known violin 

De Barbieri Paolo, Genoa, Corso Buenos Aires. Ex- 
hibited two violins, a viola and a 'cello at Cremona 
in 1937. 

De Blosij Nicolaus, Naples, 1795. 

Nicolaus De Blosij 

fecit Neapoli in Rua 

Carolana al nummero 13. A. D. 1795. 

De Bonis Alfonso, Bisignano (Cosenza), 1862 — 1892, 
son of Umile L 

De Bonis Antonio (I) Bisignano b. ca 1809 d. 1863, 
son of Vincenzo I, guitar producer. 

De Bonis Domenico, Bisignano, d. 1843, son of Gio- 
vanni Battista, worked along the same special line. 

De Bonis Espedito, Bisignano, brother and pupil of 
Nicola II, ditto. 

De Bonis Francesco (I), Bisignano 1850—1927, son 
and pupil of Antonio I, also guitar maker, fine work. 

De Bonis Francesco (II), Bisignano, b. 1888, son and 
pupil of Alfonso. 

De Bonis Francesco (III), Bisignano, b. 1894, son of 
Vincenzo II. 

De Bonis Francesco (IV), Bisignano, son of Giacinto I, 
d. 1895, continued his father's craft. 

De Bonis Giacinto (I), Bisignano 1783—1852, son and 
pupil of Michele I, guitar and mandolin maker. 

De Bonis Giacinto (II), Bisignano 1836 — 1867, son 
of Antonio I, ditto. 

De Bonis Giacinto III, Bisignano b. 1882, second son 
of Niccolo, continued the family tradition of guitar 

De Bonis Giacinto IV, Bisignano, d. 1896, son of Fran- 
cesco II. 

De Bonis Giovanni Battista, Bisignano, b. 1813, d. to- 
wards the end of the 19th century, son of Giacinto I. 

De Bonis Luigi, Bisignano, b. 1933, son of Giacinto II. 

De Bonis Michele (I), Bisignano, died there at the end 
of the 18th century. He was a brother of Vincenzo I 
de Bonis. 

De Bonis Michele (II), Bisignano, son of Vincenzo I, 
1825—1881, also guitar and mandolin producer. 

De Bonis Michele (III), Bisignano, b. 1891, fell in the 
First World War, son and pupil of Alfonso; worked 
for some time in the USA. 

De Bonis Nicole, Bisignano 1842—1895, son and 
pupil of Antonio I, guitars, very careful work- 

De Bonis Nicola II, Bisignano, b. 1896 fell in the war 
1917, ditto. 

De Bonis Nicola 111, Bisignano, b. March 1, 1918, 
added violins to guitar and mandolin building. Care- 
ful work. 


Costruttore di Strumenti Musicali a Corde 


Medaglia d'oro e d'argento 
da Enti dello Stato 

De Bonis Pasquale (I), Bisignane 1818—1852, son of 

Vincenzo I, also guitar producer. 
De Bonis Pasquale (II), Bisignano, 1858-1922. 
De Bonis Rosario, Bisignano, b. 1876, son and pupil 

of Niccolo, guitar maker. 
De Bonis Umile, Bisignano, 1828—1906, further son 

of Vincenzo I, also guitar and mandolin producer. 
De Bonis\Jmi\e (II), Bisignano, 1883 - Oct. 23, 1949, 

son of Vincenzo II. 
De Bonis Vincenzo (I), Bisignano, b. 1780 in Bisigna- 
no, d. 1850, manufacturer of guitars. 
De Bonis Vincenzo (II), Bisignano, 1855—1924, son 

and pupil of Michele I. 
De Bonis Vincenzo (III), Bisignane, b. 1929, son of 

Giacinto, pupil of Nicola III de Bonis. 
Decaniis Nunzio, Florence 1789. 
Deconetti Giov. Battista, Venice. 1720—1742. Worked 

on the pattern of Nic. Amati. Instruments with high 


Gio Bapt. Deconet fecit Venezia 17 . . 

Deconetti Michele, Venice, Padua 1752—1795. Good 
violin maker, perhaps a pupil of Domenico Montag- 
nana. His examples were Stradivari and Guarneri. 
From 1790 on he dated his works from Padua. He 
built his instruments on a broad, flat and wide-edged 
model, using beautiful wood; particularly the wood 
of the belly is of excellent quality. He applied yellow- 
brown, red-brown and brown varnish with wonder- 
ful lustre. Price 40.000 Kc. at least, outstanding 
specimens according to beauty. 

Michiel Deconet 

Fecit Venetij Anno 


Michael Deconet fecit 
Venetiae an. Dom. 17 . . 

Michael Deconet fecit Venetiae 
an Dom. 17 . . 

Michele Deconet 
fecit Venezia 1775. 

Michiel Deconet 
Fecit Padua, L'anno 1790. 

Michele deconet, fecit Venezia 1775. 

Michael Deconet, Fecit Venetij Anno 1786. 

Michael Deconet, Fecit Venetiis 1752. 


k- - • • ■ ■ ■ ■ ■ 


4**^ , A 4; 

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Pecit Venetiis 1752 4 


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Degani Domenico, Montagnana. Born about 1820 died 
1887, Simple, cheap, good violins. 

Degan Domenico 

fecit in Maggie 18 . . 


Degani Eugenio, Venice, Born May 20, 1840 at Mon- 
tagnana (Padua), died 1900. From his tenth year, 
he was pupil of his father, Domenico Degani. He 
imitated old masters in an excellent way, inserted 
sometimes purflings consisting of 5 and even more 
strips, carved good scrolls and applied a wonderful 
varnish. In 1898 he founded the firm of Eugenio 
Degani & Figlio. 

Piu volte premiato 
Medaglie d'ORO 18 . . 


,•' VEWEZlA - AMMl- 1>'t 

^ ■- 

Degani Giulio, Venice, Born in 1875 at Montagnana. 
Son of Eugenio Degani, worked on the latter's 


premiato con gran diploma d'onore in Milano 

e medaglia d'oro in Torino 

Anno 190. 


De Giorgi Remo, Castione di Strada (Udine), Via 
Roma 64, b. Dec. 24, 1894, exhibited a violin, a viola 
and a quartet at Cremona in 1937. 

Remo De Giorgio 


Castione di Strada 

Anno 1947 

Delia Nella Rafaele: see Nella. 

De Luca Antonio di Matteo, Rotello (Campobassp). 
Via A. Diaz 22. Exhibited ten violins, three violas 
and a 'cello at the Exhibition of Cremona in 1937. 

De Luccia Gennaro, Mercato Cilenico, b. Nov. 5, 1901. 
Violin maker: red spirit varnish. 





figlio di Michele 


Anno 192. 

De Luccia Matteo, Naples 1819 — 1877, guitar maker 

and repairer. 
De Luccia Michele (I), Naples, b. at Cassigliano 1848, 

d. 1924, son and pupil of Matteo de Luccia, guitar 

De Luccia Michele (11 ), Salerno, son of Annibale de 

Luccia from Sessa Cilento, guitar maker. 

Michele De Luccia 
Fecit ann 1949 
Italia (Salerno) 

De Peccati Umberto, Milan, 1. Exhibited a violin at 

Cremona in 1937. 
Desiato Giuseppe, Naples 1890—1906. Violin maker; 

Stradivari and Guarneri models. 
Desiato Luigi, Naples, 19th century, probably father 

of Giuseppe Desiato. 


Desiato Vincenzo, Naples 1855, perhaps a brother of 
Luigi Desiato. 

Desideri Antonio, Ascoli. Violins of medium quality. 

Desideri Pietro Paolo, Ripa 1793-1837. Built, on the 
patterns of Guarneri and Guadagnini, well-shaped 
instruments of good tone with beautifully cut sound- 
holes. He applied orange or yellow-brown varnish. 

Pietro Paolo Desideri 
fecit Ripe 1837. 

Desiderio Raffaele, Ripa (Ascoli). Born 1797, d. June 
16, 1871, built good sounding violins and 'cellos be- 
sides nicely finished guitars and mandolins. Yellow 
varnish. Presumably son of Pietro Paolo Desideri, 
pupil of his father and of Eugenio Galeazzi. Price 
c. 10.000 Kc. 

Ratfaele Desideri fece a Ripae 1827. 

Desideri Raffaele fece in Ascoli nel 1855. 

Desideti Pietro, Riva. Little known violin maker, de- 
scending, perhaps, from the family of Raffaele Desi- 
derio: this could be explained by a wrong reading 
of his name: "t" mistaken for "r". 

Despine G., Modena. 1774. It has not been possible to 
ascertain whether there existed a violin maker of 
this name. Instruments labelled "Depines" seem to 
be fakes (see d'Espines). 

G. Despine a Modene 1774. 

D'Espines Alexandre, Turin, 1828-1842. Pupil of 
Gianfrancesco Pressenda. Worked on the pattern of 
Jos. Guarneri del Gesu. The instruments made by 
him are wide-edged and have long, rather open 
sound-holes. Beautiful wood and careful workman- 
ship as well as a rich fine tone render his works 
increasingly popular, also as concert instruments. 
Varnish varies from orange to chestnut brown and 
is of good quality. Price 15 — 25.000 Kc, rising. 

De Vitor Pietro Paolo, Brescia. 1738-1751. He worked 
on the pattern of Maggini, built full arched violins 
with narrow edges, small sound-holes, small, neatly 
carved scrolls and applied a wonderful red varnish. 
The wide-grained wood endows the high-arched 
violins with a deep tone. Price 20.000 Kc. and more. 
Rare instruments. 

p'iVfenetus fecit " 

De Zorzi Valentino, Florence. Born at Vittorio near 
Venice in 1837, died in 1916. Worked at Pistoia 
from 1880 till 1885, when he moved to Florence. He 
worked on the patterns of Stradivari and Stainer 
and was very diligent. 

Valentius de Zorzi 

Genetensi Venetum fecit 

Florentiae A 1908 No 7 

Credo questo sia perfezionato. 

AJeaaandrus d'Eetjine Fi£it.'f 
Taurini auuo Domini ig^S.^ 

Diguni Luigi, Cremona, Apr. 14, 1878, Sept. 8, 1937 
made violins and experimented with an instrument 
he called Violetto, which was intended to supersede 
the violin. j^jQjy^j ^yjQj 

Fece in Cremona 
Anno .... N . . . . 

Diguni Sebastiano Cremona 20th century, perhaps son 
and pupil of Luigi D., exhibited two violins at Cre- 
mona in 1937. 

Di Lelio Armando, Rome, b. Nov. 16, 1925. Pupil of 
Rod. Paralupi in Rome, self-dependent since 1945. 

Armando Di Lelio 
Fece in Roma Anno 1949 

Di Leo Camillo, Palermo, Sicily. 20th century, guitar 
and mandolin maker. 

Di Leo Domenico, Palermo, b. Dec. 13, 1878 in Pa- 
lermo, brother of Camillo di Leo, made guitars and 
mandolins, but also violins and 'cellos. (Di Leo Do- 
menico fu Francesco Paolo, Palermo. This firm was 
represented at the Exhibition in Cremona in 1937 
by two violins, a viola and a 'cello.) 

Dinacci Antonio, Naples 19th century. Guitar and 
mandolin maker. 

DineZZi Carlo, Fanasio. 1887. A few 'cellos of his making 
are known. 


Dini Giovanni Battista, Lucignano, 1700—1707. Highly 
skilled master. A singular 14-string-viola d'amour 
was built by him in 1700, a preserved contrabass 
bears the date 1707. 

Gio Ba Dini Fece 1700 
in Lucignano. 

Dinumerabo Giovanni, Padua. 1661. Reported as good 

lute maker. 
Dionelli Gaetano, Mantua. 1865—1869. 'Cellos made 

by him are excellent. 
Dionigi Alessandro, Siracusa. 18th century. 

Alessandro Diogini di Syracusa 

Diotallevi Michelangelo, Rimini. 1820. 

Dodi Giovanni, Modena, second half of the 19th cent- 
ury. Skilled and assiduous master whose violas and 
contrabasses are appreciated. 

Dodi Fratelli (brothers), Modena, 19th century. 

Domenico . . . , Pesaro, Venice. 1522—1548. Philip II, 
King of Spain, owned five violas by him. 

Dominicelli of Brescia, Ferrara. 1695— 1715. A contra- 
bass and a 'cello, built on the small pattern of Amati, 
are adduced. Golden-yellow varnish. 

Imbero Dominicelli 
in Ferrara 

Dominichini Antonio Eduardo, Bologna 1708—1766. 

Made mostly mandolins. 
Domichino Giuseppe, Verona 1700—1709. Pupil and 

imitator of Amati. Price c. 25.000 Kc. 

Giuseppe Domichino 
Veronensis faciebat anno 17 . . 

Domenicus Pisaurensis 
fecit MDXXIII. 

Domenicus Joannes, Rome, 1570. A Franciscan friar 
who made instruments on the pattern of Andrea 
Amati, particularly the archings and sound-holes, 
which are long and open. He chose good wood and 
applied a beautiful brown varnish. Instruments of 
good tone, rare. 

Joanes Domenicus 
ord. frum 

Romae 1570. 

Joannes Cesar Domenicus 

Roma minorum 1570. 

Donato Serafius, Venice, 1411. Otherwise unknown, 
lute maker. 

Doneda Gian Battista, Brescia, Born 1525, died Jan. 19, 
1610 in Brescia. Lute maker, son of a Paolo Doneda. 

Donelli Aldo, Campegine (Emilia), violin maker, d. 

Doni Giambattista, Florence 1635—1663. 

Doni Roco, Florence 1600— 1660. A priest who devoted 
himself to the building of good lutes and violins. 

Donozetto Pietro, Naples, 1789. A good imitator of 
Nicolo Gagliano. 

Dosi Pietro, Bologna. 1880—1885. A self-taught crafts- 
man of no particular merit. 

Pietro Dosi di Livorno 
fece per diletto. 

D'Ovidio Antonio, Trivento (Campobasso), exhibited 

two violins at Cremona in 1937. 
Drinda Giacomo, Pienza, 18th century. 
Dulfenn Alexander, Livorno (Leghorn) 1689—1700. 
An immigrant. Good workmanship, brown varnish. 
Price 10-12.000 Kc. 

Alexander Dulfenn 
in Livorno 17 . . 


Eberle Tommaso, Naples. 1760—1792. Worked on the 
pattern of his teacher Nicola Gagliano, still more 
carefully than his master. He made narrow-edged 
instruments with deep purflings, which often pass 
for works of Nicola or Joseph Gagliano, although 
his instruments differ from them by their smaller 
sound-holes, more elegant scrolls and general appear- 
ance. Eberle used carefully selected wood. Every part 
of his instruments is worked with solicitous care. He 
applied yellow-brown or brown-red varnish. Price 
at least 40.000 Kc. 

Tomaso Eberle Fecit 

Nap. 1776. 

Thomas Heberl 

Fecit Neap. 1780. 



Neap. 17, 
Oe5fi,e Maria, 

rcmasu £fa^rle f'cc'n 


Eberspacher Bartolomeo, Florence 17th century. Lute 

Bartolomeo Eberspacher 
In Florenza. ■ 

Ebert Enrico, Venice 1655 — Skilful lute maker. 

Enrico Ebar fecit 
anno Domini 1655. 

Heinrich ebert in Venetia. 

Ecchio Giovanni, Rome, 1610, d. July 10, 1662. 

Eisele Michele, Brescia. 1614—1664. Lute and violin 
maker; instruments made by him have not been 

Embergher Luigi, Rome 1898—1900. Produced excel- 
lent mandolins. 

Erhard Paul, Genoa, 1690 was a German. A good violin 
of his making used to be in Dresden. 

Paul Erhard 


Genua 1690. 

Erthel Leopold, Venice, 1710. It has not been safely 
ascertained whether a violin maker of this name 
existed at all. 

Esposito Giosue, Naples. 1880—1900. Mandolin maker. 

Raffaele Esposito 
in Napoli Anno 1888 

Estudiantina, see Vito Moro. 


Roma (8) « YW Setsisia. n.7 

Emiliani, Francesco (d'), Rome. 1704—1736, built 
instruments on two patterns: high-arched, on the 
pattern of Stainer, and low-arched ones in the style 
of David Tecchler. For the small model he always 
used low arching. The soundholes resemble those of 
Nicol. Amati's instruments. He applied varnish of 
various colours in strong coats. Instruments are 
known coloured amber-yellow, yellow-brown, brown, 
brown-red and red. The varnish is always of good 
quality, the wood beautiful. Very carefully carved 
scrolls, good tone, yet of little carrying power. His 
instruments have often been sold as creations of 
more famous masters. Price 25.000 Kc, some instru- 
ments as much at 50.000 Kc. according to Hamma. 

Franciscus Emilianus Roma. 
Franciscus de Emilanis fecit. 

Fabricatore Gennaro, Naples. 1773—1832. Giovanni 
Fabbricatore's pupil. Built very good lutes, 'cellos, 
mandolins and guitars, but no violins of his making 
are reported. There is known a 'cello dated 1826 
which is of neat workmanship and good tone. 

Gennaro fabricatore 

Anno 1820 Napoli 

Strada S. Giacomo No 42. 

Genaro fabricatore 

Napoli A 1805. 

Fabricatore Gennaro (II), perhaps son of Gennaro 
Fabricatore I. 

Francilcus de Emilianis fecit 
Roma: Anno Dni i728 

Enrico Giovanni, di, Naples, Rome. 1590—1608, called 
"Maestro Giovanni", was an excellent lute maker, 
but is reported to have been a still better drinker. 

Erba Carlo fu Paolo, Mariano Comense (Como), Via 
E. Adda 10. b. Dec. 26, 1907, exhibited a vioHn and 
a viola at Cremona in 1937. 

% Gennaro fabricatore f 
* Anno iS JN'apoli ^ 

I Strada S. Giacomo n. 26. t 

Fabricatore Giovanni Battista. Naples 1780—1811. 
Skilful violin and lute maker. Devoted himself more 
to the building of guitars and mandolins than to 


Gio: Battista Fabricatore fecit 

An. 1793 in S. M. dell'Ajute No 32 


{^Gio: Battifta Fabricatore tecit .j 

An. 1785. ill S. M. dell' Ajuto.j 


Fr. Augustinus 

Ords. S. Joanis 

de Deo 

Fecit Bononiae 


Fagnola Annibale, Turin c. 1890—1939. Able master 
who followed Stradivari and Pressenda; red varnish. 

-♦•-^ ,- 

Fabricatore Pietro, Naples. 1780-1799. 

Pietro Fabricatore Fece 
Napoli Anno 1790 

"""*■" m^la. Chiell Si s.Of foU '• S 

Fabricatore Vincenzo, Naples. 1770. Perhaps father of 
Giov. Battista, Gennaro and Pietro F.; produced lutes 
and mandolins of mediocre quality. 

Fabris Luigi, Venice, 1838, died 1873. Buih excellent 
instruments, mostly violins and 'cellos and applied 
a nice red varnish. He also repaired instruments 
conscientiously. Price 20.000 Kc. 

Luigi Fabris fecit 
Venetia I'anno 1860. 

i.l!i«l P.*Slli.^, fs'rifc. 

VKMv'J.v \«n.. WYl 

(*<vnii -li" 


!l,' .1 r^.-i.i. 

|>,x).,)-i ' ftM? .1 I i 'n I? 

Facini Fra. Augustinus, Bologna. 1732—1742. A friar 
of the order of St. John. Worked very well on the 
pattern of Stradivari. Instruments built by him are 
characterized by careful workmanship and grace; 
the sound-holes are designed exactly on the pattern 
of Stradivari; yellow, yellow-red or red-brown, 
beautifully applied varnish. Rich, soft and powerful 
tone. Price 20.000 Kc and more. Rare. 

T If' 
Hannibal JhdgnoU fecit 

Taurini adn6 Domini igc. 

Falco Paolo, Cremona 1750—1752. Pupil and imitator 
of C. Bergonzi. Instruments of good quality. Price 
20-25.000 Kc. 

Fantozzi Pietro. Rome. Born Aug. 25, 1876. Producer, 
almost a manufacturer, of guitars, mandolins, violins 


Premiata Fabbrica di Strumenti a Corda 

Pietro Fantozzi 



Telefono 44564 

«nw««»wi I Iilininilljljlil H«I|MI1I'MI1 

^..i 1,1 II « riirntinaitiifi 


Pii in 

Via Boschetio, '23 • Rmd 

Farinato Paolo, Venice 1695-1725. Good and careful 
craftsman who worked in the style of Santo Serafino. 
His instruments are of a characteristic shape and 
sound well. He applied yellow-red varnish. Especial- 
ly his violas are said to be of outstanding quality. 

Price 25.000 Kc. „ , ^ . ^ 
Paolo Farinato 

Fecit Venetiis 1700. 

Farotti Celeste, Milan B. July 7, 1864, d. 1928. Skilful 

violin maker; he spelled his name both Farotti and 


Farotti Celeste 

Fece in Milano nell'anno 1901 

da San Germano di Casale. 

C. Farotti. 

Celeste Farotto 
da San Germano di Casale 
fece in Milano I'anno 19 . . 


da San Germano di Casale 

FECE in Milano nell'anno 1928 




In WSluao H Witi 



-^aSltr pAROTTi CBU8STB 

thi StiH ih'fiiiiniii tit Cnxffii* 

FK«;E hi Mil«»»« »*|t*»»n» t»^/' 

Farotto(-i): Celestino, Milan, b. Nov. 10, 1905, pupil 
of his uncle Celestino (Celeste) Farotti whose shop 
he took over. Inspired by Stradivari and Pressenda. 
Exhibited a violin at Cremona in 1937. 


allkvo Mki do CEimW. *«« 
m Milatto Ymrm, t9^/ 

Farotto Salvatore, Milan. Born 1875 at Granzzano 
(Monferrato). Brother and pupil of Celestino Fa- 
rotto. Used handwritten labels. 

Faruzi Francesco, Venice 1853. Repaired excellently 
instruments by old masters: few works of his own 
are known. 

Fasani Giovanni, Brescia, Born about 1785, died about 


Jo. Fasani Cremonensis 
restauravit Brixiae an 1832. 

Fasciolo Angelo, Turin, native of Turin, d. 1942. 

A violoncellist who also made instruments, following 

Annibale Fagnola. 
Fattorini Francesco, Finale Emilia (Modena) 1854. 

Self-taught instrument-maker, who built fairly good 

contrabasses. A violin of 1831 is designed on the 

model of Stradivari. 
Faustina Lucca, Modena 17th century. Violin and lute 


Faversani Carlo Fernando, Treviso, b. 1886 in Cre- 
mona, had two violins at the Cremona Exhibition 
in 1937. 

cm- /S^i^ 

ij/ " ' ' ii'' "" " V"i i M"''' ii r iY i ;i . f« i . i . i i i '-- i r ', ...i. .i ,« . . i ,... u»; . ' I f V- . " i - ~ , .v; : i:Xii\«v: « \rssi 


Faversani Cervino, Treviso, b. 1904 in Bergamo, son 

of Carlo F. Faversani. 
Fedeli Giuseppe, Foligno, 19th century. 
Felipuci Pier Lodovico, Pesaro, 1660. 
Fenga Luigi, Catania (Sicily). Born at Catino Sept. 29, 

1866. Built good instruments of carefully selected old 

wood; they are noted for their good varnish and 

fairly good tone. 

^luisius Phaenga Catanensis fecit 1900 

Luigi Fenga-Catania (Italia). 

Luigi Fenga — Catania (Italia). 

Ferati Pietro, Siena. 1754—1764. Instruments built 
by him are distinguished by faultless workmanship, 
good old wood, good dark-brown varnish and a suf- 
ficiently powerful, rich tone. Price 10.000 Kc. 

Pietro Ferati 
Fecit Siena 1760. 

Ferrara Fratelli and Sapienza, Catania, Sicily. A firm 
which produced mostly guitars and mandolins. 

Ferrari Agostino, Budrio, 1720. 

Ferrari Alfonso, Carpi (Modena) 1738. Contrabasses 
are the best instruments he made, whereas his violins 
are of inferior quality. 


Ferrari Carlo, Siena, 1740. Although he was not a 
master, some of his instruments are good: they are 
estimated at 8-15.000 Kc. 

Ferrari Francesco, Bisignano, b. 1797, died in the 
second half of the 19th century, brother of Giovanni 
Battista Ferrari, was trained in the workshop of Vin- 
cenzo I de Bonis, guitar and mandolin maker. 

Ferrari Gasparo, Rome. 1731 — 1776. Skilful maker 
of lutes and mandolins, which are characterized by 
handsome workmanship and bright yellow varnish. 

Gasparus Ferrari Romanus 
fecit anno 1751. 

Gasparo Ferraro Romano 
fecit in Roma nel mese di Maggie 

del Anno 1744. 

Gasparo Ferraro Romano 

Roma Ao 1751. 

Gaspar Ferrari Romany 
fecit = anno = 1776 

Ferrari Gian Battista, Bisignano, b. 1795, died after 

1855 — same as Francesco F. 
Ferrari Giovanni, 18th century. Indifferent; only cases 

by him survive. 
Ferraresi Vincenzo, San Felice (Modena). Born c. 

1793, died 1869, made good violins, 'cellos and con- 
Ferrarotti Dionigi, Turin, b. in Turin Nov. 18, 1903, 

son of Luigi Ferraroti, guitar maker. 
Ferrarotti Luigi, Turin b. Oct. 30, 1878, guitar and 

mandolin maker. 
Ferrarotti e Figlio, Turin, 20th century. Guitars and 

Ferrer Antonius, Naples, 1481. A monk who devoted 

himself to instrument-making. It was written about 

Frate Ant" Ferrer, quale fa 

certi stromenti da sonar per la 

S. R. graziosamente 

adi 4 dicembre.* 

Ferri Primo, Mirandola. 1848—1850. A dealer; his own 
instruments of medium quality. 

Ferroni Fernando, Florence, b. July 14, 1868 in Flo- 
rence, d. Dec. 9, 1949. Followed Stradivari not only 
in his patterns, but imitated the tints and shades of 
this master's varnish. Exhibited at Cremona in 1937 
fivs violins, a viola and a whole quartet. 

F. Ferroni 
Firenze 1942 

Fifo del Fagliano, Rolo (Modena) 1840. Worked 
assiduously in a professional, but not a masterly 
fashion. He left many violins and contrabasses. 

Filano Antonio, Naples, 1787. Mandolin maker. 

Filano Donato, Naples. 1763—1783. He does not be- 
long to the great violin makers, although he took 
great pains in adorning his instruments with mother- 
of-pearl, ivory, tortoise shell and ebony. He applied 
a brown varnish of medium quality. Price 10.000 Kc. 
and more, according to the merits of the specimen. 

Donato Filano fecit alia via 
di s. Chiara A. D. 1782, Napoli. 

Donatus Filano Fecit 

Anno Dni 1773 

Av. Rue de la Sainte Claire. 

Donatus Filano fecit anno D 1770 

Neap, alia Rua de Tafettanari. 

Filano Giuseppe, Naples. 1785—1797. Son and pupil 
of Donato Filano. His instruments do not come up 
in quality to those built by his father. Price 4 — 
7.000 Kc. 

Joseph Filano, Filius Donati fecit Neap. 
Alia Rua di S. Chiara 
Anno 1787. 
Filano Luigi, Naples. 1821-1832. 

Filippi Filipo, Rome, c. 1876, built violins in the tra- 
ditions of the Brescian school using, however, spirit 

varnish. Phillppus de Filippis 

fecit Romae anno 1876 
et DD Regiae Acade- 
miae S. Caeciliae. 

Finocchio, Bibbiano (i. e. in Bibbiano, Reggio Emilia) 
17th century maker, known by his guitars. 

Finolli Giuseppe, Milan. 1750—1755. Good neat crafts- 
manship. Few labelled instruments survive. His works 
form a connecting link between those of Landolfi 
and Camilli. He used good wood with wide grain. 
The tone of his instruments is excellent. Orange- 
yellow varnish of subdued lustre. 

* Brother Antonio Ferrer who is making gratuitously certain 
musical instruments for His Reverence, the 4th of December. 

Jofeph Aotoni Finolli in 
MSIano. J7f f 



Fiorani Vincenzo, Pergola. 1855. Built instruments in 
a professional manner, but applied spirit varnish. 

Fioravanti Andrea, Macerata near Ancona 1741 — 
1747: good contrabasses of large pattern. 

Andrea Firovanti fecit Macerata a. 1747. 

Fiorentini Astore, Bologna, b. Jan. 2, 1887 in Bologna, 

guitar maker. 
Fiori Amilcare, Casinalbo, 19th century. Good, but 

little known violin maker. 
Fiori Andrea, Modena. Born 1796, died before 1870. 

Skilful violin maker who worked with his brother 

Gaetano. They used spirit varnish. 
Fiori Gaetano, Modena, 1798—1872. Brother and 

partner of Andrea. 

Fiorini Giuseppe, Munich, Zurich. Born 1861 at Baz- 
zano, d. 1934. Came with his parents to Bologna in 
1867. He was a pupil of his father Raffaele. As 
early as 1881 he worked already as independent 
craftsman on repairs and built good 'cellos. He also 
made violins and dealt in instruments of old mas- 
ters. From Italy he went to Germany, where he 
married the daughter of Andr. Rieger and in 1899 
founded the firm of Rieger & Fiorini. At the be- 
ginning of World War I, he moved to Zurich as 
an Italian citizen, although he was offered German 
citizenship as well as an excellent position at the 
professional school for violin makers. He left for 
Zurich in May 1915 and returned after the war to 
Italy, where he attracted notice when he bought the 
property left by Ant. Stradivari. — See Stradivari. 


DA 8Ol*O0T«A 

l i ■ iiii. r » I..I I WIII II t^ *mmmmmmmmmmmmmmmmmmlmmmmmmmmmm 



Fiorillo Giovanni, Ferrara 1780. His instruments are 
a combination of the Italian and Tyrolese schools. 
The sound-holes are short in the fashion of Jac. 
Stainer. 'Cellos built by him are excellent. Some flat- 
ter German violins have been provided with labels 
spelled Fiorillo. Price 20.000 Kc., 'cello more. 

Fiorini Alessandro and Antonio, Bologna. 1671 — 1720. 
Little known violin makers. They are often being 
mistaken for Floreno. Price 20.000 Kc. 

Antonius Fiorini Bononiae 
fecit Anno 1720. 

Fiorini Raffaele, Bologna. Born at Pianoro 1828, died 
at Bologna in 1898. He came to Bologna about 
1867. Excellent, assiduous violin maker, who left 
a great many violins, 60 'cellos and other instru- 
ments; repaired, with much skill, instruments by old 
masters. His successor was Armando Monterumici, 
not his own son Giuseppe. 

Fiorini Tivoli — see Tivoli. 

Fiscer Carlo Vincenzo, Milan, after 1770. Brother of 
Giuseppe Fiscer. With him he worked jointly till 
about 1764, afterwards as independant craftsman. 

Carlo Vincenzo Fiscer 

Fabricator d'Istrumenti 

Alia Balla in Milano anno 1770. 

Fiscer Giuseppe, Milan. 1760—1764. Good instru- 
ments, particularly excellent are his 'cellos. He 
applied good red or red-yellow varnish on yellow 
grounding. Worked jointly with his brother Carlo. 
Nothing is known of Giuseppe's work after 1764; it 
seems probable that he died about 1764. Price 
12.000 Kc. 

Giuseppe Carlo Fratelli Fiscer 

Fabbricatori di strumenti in Milano 

Violino alia balla 1764. 


47. Camillus Camilli, Mantua 


















































65. Michael Deconet, Venetiis 1754 






Giuseppe e Carlo fratelli Ficher 

fabricatori di strumenti in Milano 

vicino alia Balla 17 . . 

Giuseppe Fratelli Fiscer 

Fabbricatori d'instrumenti in Milano 

Vicino alia Balla 17 . . 

Fiscier Tobia, Siena 1680—1721. Lute and theorbo 
maker, probably father of Giuseppe and Carlo 
Fiscer. The name is German (Fischer). 

Tobbia Fiscier Siena 1710. 

Flarotti Celeste, Milan. 20th century. 

Floreno Fiorenzo, Bologna. 18th century. Imitated 

with much skill Nic. Amati's instruments. Careful 

workmanship, yellow or orange varnish. — Price 

30.000 Kc. „ . ^, . 

Florentus Flormus 

fecit Bononiae an 17 . . 

Floreno Giovanni Guidante, Bologna. 1685—1730. 
Known under the name of "Guidantus". His instru- 
ments are beautifully finished and of high arching. 
They resemble in shape violins of the Amatis, as to 
arching those of the Stainer model. Narrow, yet 
rather high edges, indelicately cut sound-holes. Yel- 
low and agate-coloured varnish of high lustre, the 
agate-coloured being superior to the yellow varnish. 
Viohns of full tone. Price 32-50.000 Kc. 

Floreno Guidante, Bologna. 1710—1740. Son and per- 
haps also pupil of Giovanni Floreno. He worked 
skilfully, taking the outline of N. Amati's grand pat- 
tern, yet with lower archings and a red-brown var- 
nish on yellow ground. The tone is good. Price 

40.000 Kc. 

Guidante Florenus 

fecit Bononiae 17 . . 

Florinus Guidantus Fecit 
Bononiae Anno 1710. 

Guidatitus Fl 
Bohoni» 17 


Floreno Joannes Quidantus, Bologna 1772. We are 
quoting the name, as it is spelled on a handwritten 
label, found in a middle sized 'cello. The instrument 
is certainly the work of a master, sounds well and 
is provided with good old-Italian varnish, dark red 
on yellow ground. Should the label be genuine 
(in spite of the spelling Quidantus for Guidantus, 
which is improbable even in a Latinized name), the 
man might have been a descendant of Giovanni 
Floreno Guidante (1685-1730) and of Floreno 
Guidante, who worked in the same city 1710-1740. 

His name does not occur in parish registers. Having 
carefully studied the 'cello, we can say the following: 
the varnish makes the impression of old Brescian 
and the instrument seems to be older than indicated. 
The sound-holes are wide, upright, with upper and 
lower curves of the same diameter, not well exe- 
cuted. The scroll has two and a half turns; the back is 
of almost plain maplewood, the belly of wide-grain- 
ed pine with the soft wood between the annual 
lines sunk in. The tone is not powerful, but of fine 
quality. Length 750 mm., upper width 331.5, middle 
220, lower 426; sides: upper 110, middle 113, lower 
118 mm.; sound-holes: height 136, total length 145, 
distance between their upper ends 75.5 mm. 

Joannes Florenus Quidantus 
fecit Bononia 1772. 

Joannes Florenus Guidantus Fecit 
Bononiae Anno 1731 


Florentin N. — Place allegedly Cremona, no dates. 
The man, who worked at the end of the 18th and 
beginning of the 19th century, was probably French. 
Liittgendorff mentions several specimens, the de- 
scription of which fully answers the one we have seen 
in Brno. Varnish golden-yellow, spread in thick 
coats, tone very good, with excellent carrying power. 
The instruments are of a large, broad Stradivari 

" ■ A la ville de Cremone N. Florentin. 

Floriani Benedetto, Florence 1558—1571. Probably 
not a violin maker; he is known to have made 

'^ ' Benedictus Floriani 1559. 

Floriani Pietro, Riva. Born June 3, 1787 at Alboa near 
Riva on Lake Garda, died 17. 1. 1870. Son of 
Francesco Ant. F., a cabinet maker. Instruments of 
his making (four violins, two violas and two 'celli) 
are not masterworks. 

Pietro Floriani fecce a 
Riva di Trento 1858. 



Fodera Ercole, Catania. Born 1895. He was working 
in the style of H. Sgarbi, applying brown-red and 
golden-yellow oil varnish. 

iierrulrs Jiu^cni filru--, yii.hppi - ]j,uu-r,i it.uuK. 
frrit (:Vj.i'.<--i«^_-.- e.1,1) tiiiilii alfiiuniiiKu- ; kiio im 

Fontana Giovanni, Ferrara, 1568. 
Fontana Nicolo, Venice. Born in Brescia c. 1499, died 
at Venice ca 1557. Mere name. Works lost. 


Fontanelli Giovanni Giuseppe. Bologna 1733—1773. 

Excellent lute maker who inlaid his lutes with ivory 

and ebony. 

Giovanni Giuseppe Fontanelli 

Bolognese f. an. 1772. 

Giov. Giuseppe Fontanelli 
face in Bologna, I'anno 1733— SX^re. 

Fontanini Andrea Pietro, Cremona (Brescia), Salo. 
Born Nov. 30, 1871, d. Dec. 26, 1923 at Salo, active 
till 1906 in Cremona, then till 1911 in Brescia, fi- 
nally at Salo. Son of Giuseppe F., apprenticed by 
Aristide Cavalli, he had worked also with Luigi 
Digiuni and Carlo Bodi. Instruments of the violin 
family, also guitars and mandolins. 

Fece il Cremonesi 
Andrea Pietro Fontanini 
in Cremona anno 1890. 

Fece il Cremonese 

Andrea Pietro Fontanini 

in Brescia anno 1908. 

Fece il Cremonese 

Andrea Pietro Fontanini 

in Salo anno 1912. 

Fontanini Aristide, Salo, Rome, b. Sept. 21, 1894 in 
Cremona, son and pupil of Andrea Pietro Fonta- 

Scuola Sup. di Liuteria "GASPARO DA SALO",, 
Direz. e Brevetti Aristide Fontanini 

Strumento N. 100 coustruito da 


Foradori Giovanni, Verona, Bologna. 1855, 1860. 
Adroit joiner, but a bad violin maker. 

Formarone il, Bologna. Quoted, but unknown. 

Forni Stefano, Pesaro, 1666. Delicate workmanship, 
fine wood, excellent varnish. The tone of his in- 
struments is faultless. 

Stefano Forni Fece 
In Pesaro, L'anno 1666. 

Forno Christoforo del, Rome, 1608. Lute maker. 

Fracassi ArtuTO, Gesena (Forli), viaL. Sostegni, b. May 
21, 1899 in Santo Antonio di Gatteo (Forli), learned 
in the workshop of Carlo Biondi. Successful master, 
various patterns after old originals, transparent 
yellow or light brown oil varnish. Had a violin and 
a viola at the 1937 Cremona Exhibition. 

Fracei Pietro, Pescia. 1816. Good workmanship on the 
model of Guarneri del Gesu. He applied a wonder- 
ful golden-orange varnish. 

Fraco Stefano, Florence. 1686—1692. Lute maker. 

Stefano Franco 

Fece I'an 1699 


Z. Torre Boldone 

Fraiser Giorgio, Cremona. 1648—1566. Worked on 
the model of Amati, whose employee he was in 1666. 

Franchi Galliano, Gorizia, Via Ascoli 10. Exhibited 
a violin at Cremona in 1937. 

Fredi Fabio (Cte, i. e., conte, count), Todi, Rome. Born 
at Todi in 1845, died in Rome 1894. Good viohn 
maker and musician, who worked with Toldi at Pe- 
rugia 1875-1878 and in Rome about 1879. He ap- 
plied spirit and oil varnishes. 

Fredi Cte Rodolfo, Rome. Born 18. 6. 1861 at Todi 
(Perugia). Rome, Via Vincenza 24. Feb. 22, 1950. 
Son of Fabio Fredi. Worked carefully on Stradivari's 
model. He established himself in Rome on Jan. 1, 
1885 and built instruments on ten different models. 
Cheaper violins he coated with spirit varnish, good 
instruments with oil varnish. Exhibited two violins 
at Cremona in 1937. 

Rodolfo Fredi 
fece in Roma anno 1901. 

i^iodolfo Kr^cli fece 
iti Woniri rnniio lO 



Fredimaur Joannes Baptista, Florence 1740—1750. 
Good workmanship. His instruments are of high 
arching, have large sound-holes, wide purfling and 
are coated with golden-yellow varnish. The small flat 
scrolls are beautifully carved. 

Joannes Baptista Fredimaur eximius 
ligneus faber, Florentie anno 1645. 

Frezza Bartolomeo, Brescia, 1624. Lute maker. 


Gabrielli Antonio, Florence 1760. Good workmanship, 
golden-yellow varnish, small pattern, good tone. 
Price 16-20.000 Kc. 

Antonio Gabrielli 
Fece in Firenze 17 . . 

Antonio Gabrielli fece 
in Firenze 1760. 

Gabrielli Bartolomeo, Florence 1730. Probably a broth- 
er of Cristoforo Gabrielli. Worked in the style of 
Pietro Lorenzo Vangelisti, i. e. with high arching. 

Bartolomeo Gabrielli 
fece anno 1734 in Firenze. 

Gabrielli Giovanni Battista, Florence. 1739—1770. The 
best violin maker of his time in Florence. Worked 
with great care on a model similar to that of Jacob 
Stainer. Used good wood. His sound-holes are short, 
neatly cut in the fashion of Stainer. He applied, 
in thin coats, a yellow transparent varnish of high 
lustre. Instruments of wonderful tone. Particularly 
good are his 'cellos. (Not many violins extant.) Be- 
sides labels, he also used the trade mark I. E. G 
Price 50.000 Kc., a 'cello far more. 
Gio Battista 

Gabrieli Firenze 
Anno 1762. 

Joannes Baptista Gabrielli 
florentinus fecit 17 . . 

Gabrielli Cristoforo I., Florence, 18th century. Little 

Gabrielli Cristoforo II., Florence 1937. Exhibited a 

violin and a viola at Cremona in 1937. 
Gadda Gaetano, Mantua. Via dell'Accademia 45. Born 

Apr. 13, 1900. 


premiato con Medaglia d'Oro 

AUievo di Stefano Scarampella 

Fece in Mantova anno 19 . . 

Family Gagliano 

Alessandro Gagliano Gio. Battista Carlo 

1660—1725 1728 1732 



Fernando Giuseppe Antonio Giovanni (Joannes) 

1724—1781 1725—1793 1728—1795 1740—1806 

Gaetano Nicola Raffaele Antonio Giovanni 

1770—1824 1793—1826 1790—1857 1794—1860 1800—1867 



Gagliano Alberto, Naples, ca 1877. Son of Raffaele Ga- 
gliano, perhaps his pupil, too, as Alberto's work 
resembles very much that of Raffaele G. 

Gagliano Alessandro, Naples. Born in Naples in 1660, 
died in 1725. Pupil of Stradivari, with whom he 
worked till 1690. The first work of his own is of 
the year 1695. He worked carefully, using fine pine 
wood with wide grain and maple wood with beauti- 
ful curl. His model has outlines anticipating those 
of Guarneri del Gesu. It is large and rather flat. 
Large, delicately cut sound-holes. His small scrolls 
not always well carved. The back is often made of 
one piece. The varnish is mostly red, sometimes dark 
red, but also yellow or orange-coloured, transparent 
and of excellent quality, almost matching the varnish 
applied by the Cremonese masters. His last works 
resemble the style of Carlo Bergonzi. Very good 
tone. Alessandro had two sons, Nicolo (Nicola) and 
Gennaro. His parents are not known. Price up to 
120.000 Kc. 

Alessandro Gagliano Alumnus 
Stradivarius fecit Neapoli anno 17 . . 

Alexander Gagliano Alumnus Antonius 
Stradivarius fecit anno 17 . . 

Alesandro Gagliano Alumnus 
Stradivarius fecit Neapoli anno 1700 

fAlcxandeir Gaglianof 
•ma fecit Ncapoii iT^g 

iz ~: 

,lcxat yty'yaouaiiMcmif-i) 




'JST,'. "■'ii'-^T^y. ^f-'.k^' ' 

Altfsandoc .Caglianuf Fecic Neap.' 
L lyi'Z.r^ 

Gagliano Antonio I., Naples. Born c. 1728, died in 
1795. Third son of Nicole Gagliano. Worked on 
different models. Low arching, ruby-coloured var- 
nish, somewhat less careful workmanship. He was 
less skilled than his brother Giuseppe, who worked 
jointly with him, nevertheless; the two brothers' 
works are so similar that they can hardly be told 
apart. Their style reminds of that of their father. 
The back of the violins is mostly made of one piece. 

Joseph et Antonivs 
Gagliani Filii Nico- 
laj et Nepotes Ja- 
nuari F. Neap. 1771. 

Joseph & Antonius Gagliano 

fee. anno 1787 

In Platea dicta Cerriglio. 



Anfonlus Gagliano FiUus 
NicoUI fecit Ne^p, i^^a-^f^^ 

■ ■ ,./ ^ ^! 


Gagliano Antonio II., Naples. Born about 1794, died 
May 27, 1860. Son of Giovanni and grandson of 
Nicolo. Worked in the style of his brother Raffaele, 
who shared his workshop. Antonio was his brother's 
superior in the cutting of sound-holes, but his scrolls 
are less nicely made. The bodies of his instruments 
weigh little, though they are solidly built, which is 
due to light wood. He applied amber-coloured var- 
nish. His instruments excel in tone, particularly his 
'cellos. Price 25 — 50.000 Kc, 'cello far more. 

Antonius Gagliano 

Via Ciriglio No 75 Neap. 

fecit Anno 1835. 

Antonio Gagliano 

Via Ciriglio No . . . Neap 
fecit Anno 1845 

Gagliano Carlo, Belluno 1732. Little known member of 
the family. Perhaps a brother of Alessandro and of 
Giambattista. Only one genuine specimen is known. 

Carlo Gagliano 

me fecit 

Belluno anno 1732. 

Gagliano Fernando, Naples. Born in Naples 1724, died 
1781. Eldest son of Nicola Gagliano. Worked on the 
pattern of his grandfather Alessandro, then in the 
style of Stradivari's later stage. His model is broader. 

his workmanship less finished than that of his father 
Nicola. The scrolls are beautifully carved after the 
fashion of Amati. The sides of his instruments are 
higher than those by his father, the arching, however, 
is lower, almost flat. Good varnish of the Neapolitan 
type, i. e. drier than the Cremonese, though tran- 
sparent; it is yellow, yellow-brown or red-brown. 
Excellent is the tone of his instruments, although 
the wood he used was not always of best quality. 
Short, open sound-holes. Price 50 — 80.000 Kc. 

^^IwLi fee 

fecit Nbap^'VSl; 

/. .-■• • ^:.<'..r ■■•■^■ ■; 

KicoUi fecit Nesip. 17 

Ferdinanuii Gagliano Filius g 
Nicolai fecit Neap ly^O sj 

Gagliano Gaetano, Naples. Born about 1770, died 
1824. Eldest son of Giovanni Gagliano. Worked 
on the pattern of his father, but made the arching 
higher and broader. Few of his instruments show 
careful workmanship, the quality of wood, however, 
is always excellent so that most instruments of his 
making have a powerful tone. He also made guitars 
and mandolins. 

Gaetanus Gagliano filius 
Joannes Neapolis 1820. 

Gagliano Gennaro, Naples, 1700, died about 1770. 
Second son and pupil of Alessandro Gagliano. Work- 
ed on various patterns, mostly on Stradivari's model, 
but built his violins with a somewhat higher arching. 
All his works have beautiful outlines, pleasant to 
the eye. He chose hard wood which he worked in 
a masterly way so as to endow his instruments with 
a tone of beautiful colour and outstanding carrying 
power. Connoisseurs admire the fine cherry -red 
varnish he used. The sound-holes, shorter than those 
of Stradivari, are neatly cut and well placed. The 
nicely finished purfling is rather close to the edge. 
The sides of violins are for the most part of the 


same height at the top as at the bottom (29 mm.). 
The prime of his creative activity is the period from 
1730 to 1750. His works are in great favour as con- 
cert instruments and their price is steadily rising. 
Price 80.000 Kc. and more. 

Measures of two patterns of his violins: 

Length of back 
Width of top 
Width of centre 
Width of bottom 

354 mm. 

166 mm. 

111.5 mm. 

207 mm. 

355 mm. 
163 mm. 
113 mm. 
201 mm. 

Januarius Gagliano Filius 
Nicolai fecit Neap. 1760 

Januarius Gaglianus 

fecit Neapoli 1767. 

Genaro Gagliano fecit Neap. 17 . . 

Gagliano Giovanni Baptista, Cremona, 1728. Brother 
of Alessandro G. Few specimens extant. 

J B Gagliano alomnus Stradivarlus 
Fecit Cremone Anno 1728 

Gagliano Giovanni (II), Naples 1800-1867. Brother 
of Raffaele, able follower of his ancestors, son of 
Giovanni Gagliano I. Price 25-40.000 Kc. 

if rv<!;^v"5<^ *'^:^njts<g 

Gagliano Giuseppe, Naples. 1725—1793. Second son 
of Nicola. Worked on his father's model, yet lacked 
to a certain degree the latter's accurate workman- 
ship. His varnish of a brownish-red shade is good, 
but the yellow-brown varnish of some instruments 
labelled "Joseph and Antonius Gagliano" is con- 
sidered as his distinctive feature and such instru- 
ments are generally assigned to him. There are some 
specimens of quite an outstanding value. Otherwise 
he worked jointly with his brother Antonio. (The 

two brothers' works are very similar to those created 
by their father.) He chose wood of rather different 
quality. The small scrolls of his instruments are 
carved with less taste. His 'cellos are of great merit 
length of table, 745 mm. Price according to quality 
25-80.000 Kc. and more. 

Giuseppe Gaglianus Filius Nicolini 
fecit Neap. 17 . . 

Joseph & Antonius Gaglianus 
Fee. Ann 1793. 

Joseph Gagliano filius 
Nicoli et nepos ja- 
nuarius fecit Nea- 
poli 1793. 

"^ Joleph Gagliano Filius 
*^ JNicolai tecit Neap 1761 ^ 



Fcc» Anno ^f '^^t^O 
In Pi^-k-a >ii^& CerrigUff ' 

m NUARJ F. NEAP. 1771 k 

Gagliano Joannes (Giovanni I), Naples. Born about 
1740, died 1806. Forth son of Nicola, pupil of Gen- 
naro Gagliano. Worked on the pattern of his uncle 


and master Gennaro. His large, rather low arched 
instruments have broad, flat edges; the wood is not 
always of good quality, the scrolls not particularly 
well carved, but the tone is outstanding. Rich yellow, 
sometimes brownish varnish. Price 15 — 25.000 Kc, 
some specimens much more. 

Joannes Gagliano fecit sub disciplina 
Januaris Gagliano. 

»'as*i*aiKljsjfiAfar -i j^a »»'«^ *• 

Gagliano Nicola, Naples. Born 1670 (according to 
Luttgendorff 1695), died about 1740. Eldest son of 
Alessandro Gagliano, endowed with excellent talent, 
he worked carefully on the flat model of Stradivari. 
The belly is for the most part more arched than the 
back. Beautifully finished purfling, yet its black 
lines look nowadays faded, little or badly stained. 
Beautifully carved scrolls. The wood of the belly is, 
however, inferior to that of Cremonese instruments, 
because Cremonese pine-wood was probably not 
available. Belly and back are rather thick and the 
thinning toward the edges more outspoken. Golden- 
yellow, yellow-brown, sometimes also red or red- 
brown, transparent and rather hard varnish. The 
tone of his instruments is mellow, yet not "always 
powerful. Price 80.000 Kc. and more, particularly 
for inlaid instruments. 

Sizes of violins of the years 1736 and 1739: 

Length of back 356 mm. 357 mm. 

Width of top 166.5 mm. 167.5 mm. 

Width of centre 114 mm. Ill mm. 

Width of bottom 209 mm. 205 mm. 

Nicolai Gagliano 
fecit in Neapoli 17 . . 

Nicolaus Gagiiano Films 
Aic.xaadn I'ecitKcap. i)'35 

Gagliano Nicola (II), Naples. 1793-1826. Second son 
and pupil of Giovanni. Handsome, model not too flat, 
with rather strong and broad edges, coated mostly 
with a lemon-yellow varnish. 

Nicolaus Gagliano 
Filius Joannis 
Neapoli 1793. 

Nicolaus Gagliano 
Filius Joannis Neapoli 1800. 

Gagliano Raffaele, Naples. Born 1790, died Dec. 9, 
1857. Third son of Giovanni. Worked in the style 
of his brother Antonio II. His violins have a flat 
arching, long and wide sound-holes, the scrolls are 
not satisfactory. He applied a dark-red, brown or 
red-brown varnish. His instruments sound well. 
Price from 15.000 Kc. upwards. 


Fabbkicaxti e Necozia-vti 

Di Violin i ,Viole , V lolc^icelli « Controbassi, 
e Corde armoniche 

Strata Se«lile ii S. Guis«pp«> n. 17 prinio pmnO 

p;aySI»»?^m'W|tj' i 'ip'»lfl! ! P 



t S ^ I 




'^^rmSS^'^^-'^ -^ ^^ v&SA^b^l.^-^ ^>::^. 


t'ia\ei Yioloaeelli , € 

Gagliano Vincenzo, Naples. 1870—1886. Son of Raf- 
faele Gagliano. Worked in an industrial manner 
under the firm Vincenzo Gagliano & Figlio in Naples. 
With Vincenzo the Gagliano family died out; he was 
unmarried and there were no other descendants. 



Gaibisso Giovanni Battista. Alassio, b. June 24, 1876 
diligent modern maker; mostly Stradivari model. 





Gaibisso Giovanni Battista G 

FECE Alassio ANNO 1919 G B 

Medaglia d'oro Esp. Int. Torino 1911 

Galassi Giacchino, Gattea (Forli) exhibited one violin 
at Cremona in 1937. 

Galbani Pietro, Florence 1640. His instruments are, 
despite their great age, only of mediocre value. Price 
10.000 Kc. and more, for collectors. 

Galbicellis Giambattista, Florence. 1750. 

Galbusera Carlo Antonio, Milan. 1813—1833. His 
instruments sound well. 

Galeazzi Adelino, Ascoli, b. Jan. 1, 1828 d. Feb. 22, 
1910, excellent violinist and amateur violin maker. 
Handwritten labels: Adelino Galeazzi in Ascoli nel 
1863— this label has an addition "dono a suo nipote 
Giuseppe" — (presented to his nephew Joseph). 

Galeazzi Eugenio, Ascoli. Born 1790, d. Dec. 22, 1862, 
son of a professor of mathematics, violinist and 
amateur violin maker. Applied yellow-brown varnish 
and made also mandolins and guitars. 

Galeazzi Eugenio II, Ascoli. 1849. Son of Francesco 
Galeazzi. Worked in the violin-craft only in winter, 
otherwise he was busy with farming. 

Galerzena . . . Piemonte 1790. He is reported to have 
been a skilful violin maker who worked in the pro- 
vince of Piedmont. 

Galiani Alexander, Naples. Suspicious. 

Galieri Filippo, Naples. 18th century. Worked on the 
model of Nicola Gagliano, whose pupil he may have 
been. Otherwise little known. 

Galieri Giuseppe, Padua, Piacenza, ca 1753. He calls 
himself pupil (i. e. follower) of Nic. Amati. The 
sound-holes of his instruments are cut slantwise. He 
applied good yellow varnish. Few violins of no parti- 
cular merit. 

Giuseppe Galieri, Paduensis 

placentinus Alumnus di Nicola Amati 

Faciebat 1753. 

Galimberti Luigi, Milan, b. Oct. 29, 1888. An assiduous 
worker; golden yellow oil (or spirit) varnish. 

fece a Seveso I'anno 1924 

Gallesi Gioacchino, Rome, b. there Jan. 10, 1876. Paris, 
later Rome, was owner of a large atelier producing 
for the most part guitars and mandolins. 




Strumenti Musical! 




Anno 1949 


Galli Domenico, Parma. 1687—1691. Violoncellist and 
musical composer of the 17th century, amateur 
violin maker, made a few good instruments. 

Domenicus Gallus Parmensis 
tecit Parmae anno salutis 1691. 

Gallingani, Mancasale, prov. Reggio. 19th century, 

Good workmanship. 
Gallinoti Pietro, Salera (Alessandria) b. July 4, 1885 at 

Salerno (Piedmont); according to R. Vannes maker 

of repute both for his own instruments and for 

Galtani Rocco, Florence 17th century. Violin maker 

of good repute, yet it is impossible to verify this 

Galvani Giuseppe, 1834. Only one (good) instrument 

is known. 
Gamberini Claudio, Pieve di Cento and Bologna, b. July 

5, 1895 at Pieve di Cento, dihgent master, by 1948 

producer of 325 instruments. 



CENTO (Ferrara) 


Gamberini Claudio 

via de Poeti No 4 



Gambino Sebastiano, Genoa, Contemporary violin 

Gamboni, Naples. Born 1724, died 1814. Built instru- 
ments of medium quality. Used very fine wood which 
had come from the property left by Ant. Amati. 

Ganzerle Luigi, San Felice (Modena). Born about 
1794, died 1861. Made good instruments. 

Garani Michel Angelo, Bologna. 1685—1720. Worked 

well on the pattern of Stradivari and applied yellow 

varnish. Best are his violas. Price 12.000 Kc. and 

more. .,-,,» , ^ 

Michel Angelo Garani 

in Bologna 1687. 

A. Michael 


F. Bonon. 1724. 


A. ' 


Garani Nicola, Naples, Ca 1700. Worked on the pattern 
of Alessandro Gagliano, lacking sometimes in care- 
ful workmanship, although he always used the best 
wood. Brown transparent varnish. Price 14.000 Kc. 

Gardelli Federico, Naples. 1880-1900. 

Garenghi Giuseppe, Brescia. 1857. No concrete data 
are available. 

Gargnono — a mere name, otherwise unknown. 

Hercdes q. Gafparo ! 
Cargnono de Salodio i- ii 

Gargo Giovanni, Forli. 1785. Lute and violin maker of 

minor importance. 
Garini Michelangelo. 19th century. 
Garzano Giuseppe, Catania, Sicily. In literature his 

name occurs without date: we quote it for the sake 

of completeness. 
Gastano Antonio, Messina, Sicily c. 1890 — 96. 
Gatti Angelo, Milan 20th century. 
Gatti Ernesto, Turin, c. 1886. Good instruments. 
Gatti Giorgio, Turin 1899-1910. 

Giorgio Gatti 
fece in Torino I'anno 1899. 

Gavelli Giacomo, Perugia. 1797. Practically unknown. 

Gavoni Antonio, Modena. C. 1777. Built 'cellos and 
contrabasses of medium quality. 

Gazzeri Domenico, Florence. 1682. Lute maker. 

Gazzola Prosdocimo, Crespano. Born 1822, died 1884. 
Built excellent contrabasses and repaired instru- 
ments with much skill. 

Gelmini Geminiano, Ferrara. 1508. 

Gelmini Giovanni, Brescia. Born 1804, died 1864. 

Joannes Gelmini 
Brescianus Inventor 
Anno 1863 No 26. (written labels). 

Genova Giovanni Battista, Turin. 1765. Only one 
violin is reported. 

Fecit Taurini Joannes 
Baptista Genova 1765. 

Gentile Michele, Lucca. 1883. 

Gerani, Turin, ca 1750. A few medium quaUty instru- 
ments. Price 10-12.000 Kc. 

Gerani N., Naples, 1790 — 1830. Good instruments 
coated with yellow varnish. 

Gerani Paolo, Cremona. 1614. Little known lute and 

violin maker. 
Geroni Domenico, Ostia near Brescia. 1800—1820. 

Good imitator of old masters. Applied red varnish. 

Price c. 8000 Kc. 

Domenico Geroni Ostiano 
fecit Anno 1817. 

Gerosa Giovanni, Montegno (Sondrio), b. June 19, 
1895. Good work, choice wood, alcohol varnish 
variously coloured, brown, golden yellow or red. 

Gerosa Giovanni 

fece in Montegno 

I'anno 19 i7 

Gherardi Giacomo, Bologna. 1677. Only one fine, care- 
fully built contrabass of his making is known. 
Ghidini Carlo, Parma. 1746 — 1773. 
Ghirardi Giovanni Baptista, Venice. 1791. Little known, 
violin maker. 

Joannes Bapta: Ghirardi 

fecit anno 1791 

iriiitn mrlj jTi itiBnir 

tf 111 arw liMil Hi lliifltlf *"■« 

Giacchetti Giuseppe. Rome. b. March 26, 1890, a pupil 
of Rodolfo Freddi, applies oil varnish of orange or 
golden-red colour. 

Giacco Antonio, Osimo (Ancona), contemporary (since 
1928) violin and guitar maker. 

Giacco Antonio Liutaio 
Osime Marche 1928. 

Giacinti Celeste, Milan, 20th century specialist in 

guitar making. 
GiacomeUi Giambattista, called "Del Violino" Rome 

1586. He is reported to have made harps. It cannot 

be ascertained whether he built also violins, but his 

epithet "Del Violino" supports the supposition that 

he was also a violin maker. 
Giacomo in Chioggia, ca 1346, mediaeval lute maker 

whose works have not come down to us. 
Giacomo .... Chioggia, another lute maker about the 

middle of the 16th century, probably descendant of 

the former. 
Giamberini Alessandro, Florence, 1771. Good violin 

of that date; golden-yellow varnish. 
Giamberini Claudio — perhaps a faked name, known 

from just one specimen. 


Giamberini Giovanni Lodovico, Florence, 17th cen- 
tury. Lute maker, perhaps ancestor of Alessandro 

Giamberini Simeone, Florence, 18th century. Amati 
and Stradivari models, arched or flat; golden-red 

Giammarini Egidio, Ascoli, July 1, 1865 — June 1, 1915 
worked mostly for agents: violins etc. he varnished 
himself are brown or reddish-brown. 

Gianmarini Egidio 
Ascoli, Piceno 1898. 

Gianni Alessio, Modena. 1793. His violins are reported 
to have a very good tone. 

Giannini Fabrizio, Viareggio. Born in Arezzo 1912. 
Distinct model of his own, also inlaid specimens and 
good guitars. 

GianoU Domenico, Milan 1731. Good follower of the 
Cremonese masters. One of the "submerged" violin 
makers who was worthy of a better fate. Price 
15.000 Kc. 

Gianotti Achille, Sarazano c. 1870, dealer and re- 

Giaroni Elviro di Venerio, Reggio Emilia, had one 
violin at the 1937 Exhibition in Cremona. 

Gibertini Antonio, Parma, Genoa 1797—1866. Excel- 
lent imitator of Stradivari and Guarneri. As Guar- 
neri model served him the violin of Paganini who 
considered Gibertini as a good master. The few sur- 
viving instruments corroborate the supposition that 
he applied himself more to repairing work than to 
the creation of new instruments. His violins have 
a good, strong tone. Deep red varnish, applied in 
thick coats. From 1833 he worked in Genoa. Price 
12-16.000 Kc. 

Restauro e corresse nell anno 1839 in Geneva 

Antonio Gibertini di Parma. 
Premiato piu volte in Milano con Medaglia etc. 

Antonio Gibertini 
Parma 18. 

Gibertini Antonio fece in Parma anno 1840. 

Gibertini Giuseppe, called "Paninino". Modena, 1800. 
Price 6-8.000 Kc. 

Gigli Giulio Cesare, Rome 1721 — 1762. Worked some- 
times on the pattern of Amati, but more often in the 
style of David Tecchler. Some of his, rather broad- 
edged works are good: their arching is higher than 
that of the instruments built by Tecchler. He applied 

a red-yellow or red varnish. The best of his 'cellos 
and violins are the red ones. Price 60 — 80.000 Kc, 
'cello more. 

Julius Ceefar Gigli Romanus 
FeciL Romae Anno 170/ 

Gioffreda B., Turin 1860. 

Giogetti Giovanni Antonio, Barga (Toscana) 1847. 
Giombini Egidio, Jesi (Ancona) b. Oct. 25, 1907. Or- 
ange varnish with a reddish tint. 

Giombini Egio 
Jesi 1949 

Giordano Alberto, Cremona. 1725—1740. Worked on 
the pattern of Stradivari, but not with much success. 
The wood is not well selected. Broad edges, roughly 
finished purfling. His 'cellos, however, have a beauti- 
ful tone. Yellow-brown or red-brown varnish. Price 
25.000 Kc, 'cello far more. 

Al . . . to Giordano fecit 
Cremonae 17 . . 

Giordani Enrico, Genoa, exhibited two violins at Cre- 
mona in 1937. 

Giorgi Nicola, Turin 1717—1760. Pupil of G. Cappa, 
but at the same time follower of Stradivari. Best are 
his violas and violas d'amour. Price 15—18.000 Kc. 

Nicolaus Giorgi faciebat 
Famini anno 17 . . 

• I (tcitTaurm kino 1 730 | 

Giovannetti Leonardo, Lucca. Born 1816 at Lucca, died 
Nov. 30, 1884. He was a lawyer, a good musician and 
good amateur violin maker. 

Leonardo Giovannetti 
fece in Lucca Anno 18 . . 

Giovannetti Lodovico, (a dr. med., surgeon), b. Sept. 

13, 1893 in Montefiore dell 'Asso, amateur violin 

maker: individual work, varnish yellow or golden 

Giovannetti Luigi, Lucca ca 1840. Good violin maker. 

Price 8-10.000 Kc. 
Giovanni Antonio, Padua, known only from a viola 

d'amour of 1744. 

Giovanni Antonio Da 
Padova Fecit Anno 1744. 

Giovanni, Leghorn, — see Enrico Giovanni. 
Giovannini Giorgio, Rome 1611. It is only known that 
he was a lute maker. 


Girardi Mario, Trieste, exhibited a violin at Cremona 
in 1937. 

Giraniani, Leghorn. Corrupted name, a fake, — see 
Gragnani Genaro. 

Gisalberti Andreas, Cremona, Parma, Bozzolo. 1716, 
1721. He was a pupil either of Mariani at Pesaro or 
of P. S. Maggini at Brescia. Built very good instru- 
ments in the style of Gasparo da Salo. His thinly 
coated orange-red varnish resembles that of the Cre- 

Andreas Gisalberti 

fecit Bozsolo 1716. (written). 

Anno tilbitk tfir S 

♦r •tflS««)Slt»'i^ ^ 

^ »3€»a» «^3»«jat 18698* 

Giulietti Tullio, Milan, b. in Rome Dec. 22, 1873, d. 
Apr. 1, 1933 in Milan. Guitar and mandolin maker. 


Giusgnani Raffaele, Arezzo and Terni. Born ca 1870. 
Giusti Giovanni Baptista, Lucca 1682 — 1693. Lute 
maker of very careful workmanship. 

Joannes Baptista Giusti 
Lucensis faciebat anno 1693. 



Gobetti Francesco, Venice. 1690—1732. He is reported 
to have been a pupil of Stradivari, but worked, very 
skilfully, also on the pattern of Amati. He built his 
instruments with a moderate arching and in a rather 
short, broad, characteristic shape. Very fine wood, 
delicately and neatly carved scrolls, sound-holes cut 
in the style of F. Ruggeri. Applied a wonderful 
varnish, as a rule pale red, but also deep red or 
amber-coloured. His violins are coveted concert 
instruments. Price 100-160.000 Kc. 

Franciscus Gobettus 
Venetijs Fecit Anno 17 . . 

Gisalberti Giulio Cesare, Bologna 1588. Lute maker. 

Gitarino dal (Chitarino) see Petrobono. 

Giudici Antonio (I), Varese, b. Feb. 16, 1860 in Mas- 

nago, d. March 27, 1931 in Varese, son and pupil of 

Giovanni Guidici. 
Giudici Carlo, called Mezet, Varese, b. in Masnago 

Aug. 8, 1894 son of Antonio I Giudici. 

Carolus Giudici 

cui cognomen Mezet 

Varisii fecit anno 19 . . 

Giudici Giovanni, called Mezet, b. Aug. 8, 1824 in 
Masnago (Varese) d. in Varese Nov. 26, 1903, is 
appreciated chiefly for his yellow contrabasses. 

Guilani . . . Cremona, Saluzzo, ca 1660. Pupil of Nic. 
Amati. Good violas and excellent contrabasses. 

Giulani Alessandro, Milan. Born in Rome Dec. 22, 
1873, d. Apr. 1, 1933 in Milan, guitar maker. 

Giulietti Armando, Milan, b. Sept. 29, 1903 in Rome. 
Son and pupil of Tullio Giulietti. Instruments co- 
vered with alcohol varnish of red colour. 

Fece in Milano A 

Armando Giulietti G 

L'ANNO 1939 




iiicesco Gol^tti. 
^¥«ii0tia 1700. 

Francifcus Gobetti '1 
Fecjt A^l^rittiis .17;/ 

■| Francifcus 'G'o^StiP 

Gofriller Antonio, Venice 1730. His instruments are 
inferior to those of his namesakes. 

Antonio Gofriller 
fece in Venezia 1730. 

Goffriller Francesco, Venice, Udine. 1660—1740. 
Brother of Matteo Goffriller, with whom he jointly 


worked. He built very valuable instruments, with 
yellow-brown varnish. Price 100—120.000 Kc. 

Goffriller Matteo, Venice, 1690-1742. His first works 
were in the style of the Tyrolese school, otherwise 
he worked on the patterns of Stradivari and Carlo 
Bergonzi. He made the purfling and edges broader, 
the sound-holes elegant and cut in a vertical position; 
large, beautifully carved scrolls, exemplary work- 
manship; faultless fine-grained wood. The back is 
mostly made of one piece. Beautiful and of power- 
ful tone are his 'cellos, for the back of which he 
used beautiful curled maple, rarely poplar wood. 
These 'cellos are first class concert instruments and 
equal those of Carlo Bergonzi. Excellent varnish, 
red-brown, sometimes darkened to a certain degree, 
sometimes colour of old gold, yellow-brown and red. 
Price 120-240.000 Kc., 'cello more. 

Dimensions of violins by Mat. Goffriller: 



Length of back 

350 mm. 

356 mm 

Width of top 

166 mm. 

166 mm 

Width of centre 

Ill mm. 

105.5 mm 

Width of bottom 

223 mm. 

205.5 mm 

Suttio Goffi fieri- 

^ iV Mfegaa di Cremona 


:tiQ Gofhiicri 
na di* 

Mattio Gofrilleriia^yenetia I 
f^l^^^^g^^ ^^ Cremona 16$$ 

^Mattio Gof&aier "^ 
FeceinVenetiaAnno i^ii| 

P^atteo QoffriUer feciti 
Venctyis[ aiino 1^5^ 

Gondolo Giorgio, Turin 1884. 

Gonzales Aurelio, Rome. b. March 17, 1908. 



e diploma d'onore al Concorso Nazionale Liutai 

fece in Roma I'anno 1930 

Gori Pietro, Rimini (Forli) 1820. Second-rate instru- 

Gorrieri (Corieri) Antonio, Padua 1802. 

Gottardi Antonio, Treviso. 1878. 

Gotti Anselmo, Ferrara, b. Nov. 2, 1902, pupil of Ettore 
Soffriti, is working on the patterns of Stradivari and 
Guarneri and applies a red oil varnish. 

Gotti Emiliano, Ancona. ca 1770. Worked on the pat- 
tern of Jacob Stainer, at a later state in the style 
of the Italian school. He built his instruments with 
a high arching and applied yellow-brown varnish. 
Beautiful, carefully carved scrolls, small sound-holes, 
cut in the fashion of Stainer. He used carefuUy se- 
lected wood, especially for the back of his instru- 
ments. Rare. 

AEMILIAN Gotti, Ancona 

Gotti Orsolo, Pieve di Cento (Ferrara) Born Sept. 1, 
1867 at Pievej di Cento, d. Aug. 2, 1922. Pupil of 
Carlo Carletti; chestnut-brown spirit varnish. Some 
of his instruments, imitations of Gagliano, Stradi- 
vari, Cerutti. Montagnana etc. are said to be much 
in demand. 

Gotti Orsolo 

Pieve di Cento 1920 


Gouvernari Antonio, Cremona. 1600—1601. The lar- 
ger model of his violins has a medium arching and is 
coated with olive-yellow varnish. Beautiful scrolls, 
sound-holes after the fashion of Nic. Amati, but 
longer. Valuable, if preserved. 

Antonius Gouvernari 
Cremonensis Faciebat Anno 16 . . 

Govoni Gughelmo, Pieve di Cento, b. Dec. 25, 1911, 
orig. cabinet maker, then imitator of Stradivari and 
Guarneri de Gesii in all details of shape and co- 

Grado Gaetano da Naples. Guitar maker. 

Gragnani Antonio, Leghorn. 1741 — 1800. Worked on 


the pattern of Nic. Amati; his model is large, arching 
full, sides higher than usual, edge narrow, purfling 
neatly finished, scrolls tastefully cut and sound-holes 
longer than those of Nicolo Amati. He used a very 
good golden-yellow, deep-yellow, light-brown or 
red-yellow varnish. The best of his instruments are 
coated with red-yellow varnish. They are outstanding 
for their beautiful, mellow tone of good carrying 
power. The wood is not always of the best quality. 
Price 30-50.000 Kc. 

Antonius Gragnani fecit 
Liburni anno 17 . . 

;iplliilsCf^fiaiii iccil- 



;-'5S>., a^^Ad..*.'^ . 

& ^jati'aM,£*^'w>..iMa~,.itfti«ii'i>- -tgjjEaajA ~*~^&..^Mui)£s^iSt^ 


Anconms Gragnini fecic 
Libirni Anno I^/ 

Gragnani Gennaro, Livorno, (Leghorn). C. 1730. 
Brother of Antonio Gragnani. Good workmanship, 
resembling that of Antonio. Beautiful yellow varnish; 
the labels are often handwritten. Price 30.000 Kc. 

Januarus Gragnani fece 
Lib. Anno 17 . . 

Gragnani Jacopo, Livorno. 1743. 

Gragnani Onorato, Livorno. 1785—1799. Son of Anto- 
nio Gragnani. His workmanship is not of masterly 
finish. Price 10-15.000 Kc. 

Onorato Gragnani 

Figlio d'Antonio 

Fatto in Livorno il 1799. 

Gramino Giovanni, Milan. 1722—1724. Known only 
from two violins kept formerly at Wiesbaden. Sus- 
picious. — See Liittgendorff. 

Giovanni Gramino 
Milano 1724. 

Grancino Andrea, 

Milan, c. 1646. Built very good 

Andrea Grancino in Contrada 

Larga in Milano al Segno 

della Corona 16 . . 

Grancino Francesco, Milan. C. 1690—1746. Younger 
son of Giovanni. Worked on his father's pattern and 
in the style of Amati. Good instruments; best are 
his violas and 'celli. Fine wood, yellow or dark-red 
varnish of good quality. His instruments have a mel- 
low, clear tone. Cheaper specimens also sound very 
well; their purfling is not inlaid, but engraved. 

Gio Battista & Francesco fra Grancini 
In contrada larga di Milano 17 . . 

Francesco Grancino Figlio 
Giovanni fecit Mediolani 17 . . 

Grancino Giovanni L, Cremona. C. 1645—1682. Per- 
haps a brother of Andrea. Learned the craft at Cre- 
mona. Worked freely on the pattern of Amati, but 
followed also old Tyrolese masters. 

Giovan Grancino 
in Cremona 1682. 

Grancino Giovanni II., Milan c. 1675—1737. Second 
son and pupil of Paolo Grancino. His style resembles 
that of his brother and companion Gio. Battista. He 
worked on the smaller pattern of Amati and used 
fine wood. The arching of his instruments is higher 
and broader than that adopted by his father. The 
varnish is yellow or, more often, yellow-brown, ra- 
ther dry. So far as the tone is concerned, his instru- 
ments are fit for concert halls, especially his 'cellos 
are excellent. Price 30—50.000 Kc. 'cello more. 

Fratelli Grancini in Contrada 

;larga di Milano al Segno della 

Corona 16 . . 

Gio Grancino al Segno della Corona 
in contrada larga di Milano fece 1699. 


' (Sta-BaptGiandnb in^^ntn^ 

-..- ■.j-3b^^-.~^-ii« ^ - 4 

Grancino Giov. Battista I, Milan, Ferrara c. 1669 — 
1710. First-born son of Paolo. Worked better than 
his father and was perhaps a pupil of Joseph Guar- 
neri, Fil. Andreae of Cremona; may have worked 
also for this master. His beautiful instruments, with 
low arching, are built on a larger pattern. Delicately 
finished purfling, fine resonant wood, golden-yellow 
or orange-coloured, often reddish varnish, mellow 
and powerful tone. According to Hamma & Co.'s 
statement some instruments, recognized as his parti- 
cularly good creations, are labeled as Joseph Guar- 
nerius, fil. Andreae, which proves that he really 
worked with Guarneri. Hamma values these instru- 
ments at 15 — 20.000 marks, which would amount to 
120—160.000 pre-Munich crowns. Otherwise, the 
price of his violins is 50.000-65.000 Kc. 

Giov. Bapt. Grancino, Filius 
Paoli, fecit in Ferrara 16 . . 

Grancino Giov. Battista II, Milan. C. 1697-1735. 
Eldest son of Giovanni Battista I (1669—1710), 
worked jointly with his brother Francesco in the 
workshop bequeathed to them by their father. Good 
workmanship. Varnish for the most part deep red. 

Grancino Giovanni Battista III. Mantua. (1727? ). Per- 
haps a son of Gio Battista Grancino II. (1697 — 
1735). Rather high-arched model, chestnut-coloured 
varnish. Broad, yet beautifully finished purfling; the 
sound-holes are usually not well cut, whereas the flat 
scrolls are neatly carved. 

Grancino Gramino, Milan. C. 1722. His instruments 
possess a medium arching, gracefully carved scrolls. 

The belly is coated with yellow-brown, the back with 
yellow varnish. Beautiful smooth tone of good carry- 
ing power. 

Gramino Grancino 

in contrada Larga di Milano 



Grancino Paolo, Milan. C. 1665—1692. Pupil of Nic. 
Amati, whom he imitated freely and in a rather good 
way, although he failed to equal the quality of his 
master's instruments. His model has a flatter arching, 
broader edges, shorter corners, long, broad, plain- 
looking sound-holes. The wood is not always faultless. 
The back and sides of his larger instruments, espe- 
cially the 'cellos, are often of poplar wood. Good 
yellow or red-yellow varnish. His instruments sound 
very well; particularly excellent are his violas. Price 
40-60.000 Kcs. 

Giovanni Grancino (1645—1682) is the oldest 
known violin maker of the Grancino family. We do 
not know whether Andrea (c. 1646) was his broth- 
er or son. Which of the two was father of Paolo 
Grancino, is also uncertain. Giovanni Grancino con- 
tinued to live in Cremona even after Paolo had taken 
over the shop left by Andrea in Milan. Paolo's sons 
Giambattista (Giovanni Battista I, 1669—1710), and 
Giovanni II (1675 — 1737) worked in Milan, as did 
also Francesco and Giambattista II, sons of Giam- 
battista I. It has not been fully proved that Gramino 
(c. 1722) was a son of Giovanni Battista II, but it 
seems probable. Giambattista III (c. 1727) moved 
to Mantua at the time when three others, viz. Giam- 
battista II, Francesco and Gramino were all active 
in Milan; he may have been superfluous. Another 
possible conjecture is that Gramino and Giambat- 
tista III were sons of Francesco. 

Grandi Luigi, Pisa. Ca 1874. Little known violin maker. 
Grappelo Giovanni Marco, Ferrara. 1566. Very old 
master. Dark yellow varnish. 

Joannes marcus. 

Grasso Arturo Salvatore, Catania, Sicily. Worked (1930 
— 39?) on the patterns of Amati, Stradivari, Guar- 
neri, Gagliano, then passed over to the wholesale 
productipn of guitars. As such he is best known. 

Arturo Grasso 
fece in Catania anno 1930. 

Grasso Toscano Santi, Catania, father of the former, 
founder of a reputed atelier for guitar and man- 
dolin production. 

Grasso Vincenzo, Rome, contemporary violin maker. 


PiDMria ralilrtca Mae^oliii e CWtim 



VU 6luUa i6*A 

BB B 3g:pg a :« « 

Gratiani Giuseppe, Genoa. Ca 1762. Instruments of 
good workmanship and tone. 

JoSC/i^ Grai'iQni 

Grandi Luigi, Pisa. C. 1874. Little known violin maker, 
of strong lustre; medium workmanship; tone of no 
particular carrying power. Price 10—15.000 Kc. 

Luigi Gregori fece in Bologna 
Anno 18 . . 

Gricca Alfonso, Ferrara. Ca 1591. 
Grilli Giuseppe, Arezzo. Ca 1742. Instruments of aver- 
age quality. Price 10.000 Kc. 

Joseph Grilli Aretti 
Fecit anno 17 . . No . . 

Josephus Grilli 
Aretti 1742. 

Grimaldi Carlo, Messina. C. 1681. Pupil of M. Albani. 
Reportedly good instruments. 

Grimaldi O. lived at Catania (Sicily). Otherwise un- 

Griseri Filippo, Florence. C. 1650. Perhaps a German 
from Fiissen: this supposition is corroborated by 
the somewhat angular shape of his instruments and 
by other features characteristic of the German work- 
manship of that time. 

Grossi Giuseppe, Bologna. C. 1803-1804. 

BoIc^e» 18 ^ 4^ 

Grossi Gualtiero de, Naples. Mandolin maker. 
Grulli Pietro, Cremona. Born 1870, died Oct. 27, 1898. 
A dexterous violin maker who died too young. 


name of a renowned family of violin makers whose 
genealogy we quote first: 



ca 1597 







b. 1695 


d. 1760 

b. 1705 
d. 1770 


Giuseppe I 




b. 1736 

b. 1711 

d. after 

d. 1786 







Ca 1790 






Ca 1839 

Ca 1835 

Felice II 



b. 1830 







b. 1831 

d. 1881 








b. 1908 

d. 1932 


Guadagnini Antonio, Turin. Born 1831, died 1881. 
Son of Gaetano II. Guadagnini and grandson of 
Carlo G. A talented and skilful descendant of the 
old masters. His sons were Francesco and Giuseppe. 
Rich tone. 

Afitonio Guadagnini fece *n 
I A " 

f Torino, anno 18 jT/ T 

Guadagnini Carlo, Turin, Lived 1780—1839. Son of 
Gaetano Guadagnini. Worked on a large, broad, 
rather flat, broad-edged model. His workmanship 
is not outstanding, but he chose very good wood. 
No 'cello extant, and only few other instruments, for 
Carlo Guadagnini devoted himself more to repairing 
work than to the making of new instruments. His 


sons were: Gaetano, Giuseppe and Felice. Price 
80.000 Kc. 

Guadagnini Felice I, Turin. Ca 1834. Probably son of 
Gaetano and grandson of Giov. Battista Guadagni- 
ni (II). His identity with Felice Guadagnini, born 
about 1830, which possibility was supposed by Liitt- 
gendorff, is improbable. On his labels he used the 
epithet: Nepos. Joan. Bapt. Worked on the pattern 
of his father, who seems to have apprenticed him. 
His instruments have a flat arching. 

Guadagnini Felice II, Turin. Born about 1830. Son 
and pupil of Carlo Guadagnini. Careful workman- 
ship, beautifully carved scrolls, red-brown or yellow- 
brown varnish of good quality. Violins of his making 
have a powerful, smooth tone. Price from 30.000 Kc. 

Guadagnini Francesco, Turin, Via S. Teresa 15, 1863 
— 1937. Son and pupil of Antonio Guadagnini. An 
expert and skilled master who exhibited a beauti- 
fully finished quartet at Cremona in 1937. Worked 
on the model of Giambattista Guadagnini II (1711 — 
1786). The quality of his beautiful, brilliantly red 
varnish comes up to that applied by his ancestors. 
He worked alone without helpers, only after 1918 
one of his three sons, Paolo, assisted him. 

Francesco Guadagnini fu Antonio F. G. 
fece in Torino anno 1910 T. 

» j^ukN^&HftisitiNtrubTwto i] 


Fr&ftCfcsco GuadafniBl fece I rlT) j 
in Torfno neiriano ||1^ •— ~-j. | 

Guadagnini Gaetano I, Turin, c. 1775—1831. Son of 
Giov. Battista II. Built, with accurate workmanship, 
mostly instruments of a medium, flat pattern. For 
his work he chose fine wood and applied a good 
red or yellow-brown varnish. His instruments have 
a powerful, smooth tone. Prices of genuine specimens 
vary from 45 to 65.000 Kc., whereas other (perhaps 
more numerous), instruments made by some un- 

known Italian violin maker and provided with Gua- 
dagnini's label, should fetch far lower prices. In 
1908, an original violin was sold at the price of 
3.500 K Austrian currency. 

J. B. Guadagnini Filius 
Taurinis fecit 1775. 
Gaetano Guadagnini. 

' w • • r r-r- ^, ■ jy « <i." i i» — " « 

I Vmd»gaioi. Jo TjNOM iSS^ i 

Guadagnini Gaetano II, Turin. Ca 1835—1852. Eldest 
son of Carlo Guadagnini. Good and conscientious 
work on a large flat pattern. 


aeiano Uuadagiiua 

la. Toaffa heiranna 
in pjiazza S. Carlo. 

Guadagnini Giovanni Antonio, Turin. Ca 1750. Brother 
of Lorenzo I. Guadagnini. Excellent instruments, 

Joannes Anfoi^V 
Sfcradaan] fecit Taurini 

Guadagnini Giovanni Battista I, Milan, Parma. Born 
about 1685 at Piacenza, died after 1770. Brother 
of Lorenzo Guadagnini, with whom he worked for 
some time at Piacenza. From 1750 on he lived at 
Milan, later at Parma. Worked with great care in 
the style of Stradivari and Amati, building mostly 
middle-sized, moderately arched instruments. Very 
carefully finished purfling. His typically cut sound- 
holes are long, somewhat open in the style of Giu- 
seppe Guadagnini and beautifully rounded off at 
the bottom. He mostly used red, but also yellow- 
red and golden-orange varnish. His creations, par- 
ticularly the 'cellos, built on a rather small pattern 
730—740 mm. long, are excellent concert instru- 
ments. Price 320.000 Kc. and more. 

Dimensions of violins by J. B. Guadagnini I. 

Length of back 
Width of top 
Width of centre 
Width of bottom 

1740 1750 1750 

356 mm. 350 mm. 356 mm. 

169.5 mm. 166.5 mm. 164 mm. 

111mm. 111mm. 107 mm. 

207 mm. 205 mm. 206 mm. 


Q u e s t o corretto e fatto al Convento da me 

Gian Battista Guadagnini Piacentino 

in Milano. 

Baptiik Guadagnini Pla* 
j>;^?tDeiitirms fecit Mediobfti ij ^ -:? 

Joannes Baptista Guadagnini 
fecit Pannae ferviens 
jC' S.R, 174T 

making was sold, in 1911, at the price of 16.500 K, 
old Austrio-Hungarian currency. 

Dimensions of his violins from different years 

1779 1771 1775 1778 1777 

357 356 354 354 357 

166 161.5 166 167.5 165.5 

205 201 204.5 206 204 

111 106 108.5 112.5 110 

Length of back 
Width of top 
Width of centre 
Width of bottom 

Joannes Baptifta Guadagnini • 
Cremontnfis fecit Taurini. GBG 
alumnus Antoni Siridivaii z/;; 


Vw&n I'/ j^-' 

Guadagnini Giovanni Battista II, Placentia (Piacenza), 
Milan, Cremona, Parma, Turin. Born 1711 at Cre- 
mona, died Sept. 18, 1786 in Turin. 1740-50 Pia- 
cenza, 1750-58 Milano, 1758-60 Cremona, 1760 
— 70 Parma, 1770-86 Torino. 

Son of Lorenzo Guadagnini, reportedly pupil of 
Stradivari (as was his father), although he is also 
said to have been his father's pupil. He worked very 
carefully in the style of Stradivari, building, for the 
most part, instruments with a flat arching. He made 
the backs of two pieces and used fine wood. The 
broad purfling is executed in a fine way, the edges 
are very well finished. The sound-holes, following 
freely the pattern of Stradivari, are beautifully exe- 
cuted, the lower openings characteristic, oval. Beau- 
tiful, rather powerful scrolls in the style of Stradi- 
vari. He applied a wonderful golden-yellow or deep 
red varnish; less valuable instruments are coated 
with a harder brown varnish. His best works were 
made after the year 1761. In so far as the tone is 
concerned, instruments of his making are magnifi- 
cent, much admired first-class concert violins (except 
those coated with brown varnish which may have 
been some sort of cheaper merchandise). After his 
father's death he moved to Turin. With Lorenzo G 
the greatest master of the family. Price of violins 
320.000 Kc. and more. In Vienna, a violin of his 

Guadagnini Giuseppe I., Brescia. C. 1697. Very good 
workmanship. Size of his violins: length of back 
357 mm., width above 170 mm., width of centre 
109 mm., width below 209 mm.. High sides; large, 
delicately carved scroll; transparent red-brown var- 
nish. „ , 


fecit Brescia 1697. 

Guadagnini Giuseppe II., called "11 Soldato", Milan, 
Como, Parma, Pavia. Born 1736, died after 1805. 
Son and pupil of Giov. Bapt. Guadagnini I. Worked 
on the patterns of different masters, but mostly in 
the style of Stradivari and Guarneri de Gesii. Low 
arching, broad model, rather wide edges, strong, 
sometimes double, purfling; fine hard wood, good 
workmanship. Sound-holes beautifully cut, somewhat 
in the fashion of Guarneri. He applied a yellow, 
deep yellow, red and orange-coloured varnish. In 
1760 he went to Parma and in 1790 he was at 
Pavia. The tone of his instruments is outstanding. 
Price 50-80.000 Kc. 

Joset Guadagnini Cremonensis 
fecit Papiae anno 1790. 

Giuseppe Guadagnini 
figlio di Giov. Battista. 

Giuseppe Guadagnini fil. 
Joannes Baptista Parmae 1768. 

J o s c f G t ! a d rign mi C r e m o n c n s is 

fecit Papiae sxnixo l8o5 


67. Eugenio Degani, Venezia, 1875 













72. Viola: Ferdinandus Gagliano, Neap. 






^ m 



* i^feWMW- „,>sli^SK^ 



1 ..^Mi 











f f 

- ,,„>*^ 








76. Januarius Gagliano, 1755 






78. Joannes Gagliano, 1804 
















1 M 









84. Nicolaus Gagliano, 1723 


fe) ^ 














'' •' '■ -i 

Guadagnini Giuseppe III, Rome, Turin. Ca 1884 — 
1900. Built violins and 'celli on the older models of 
the Guadagnini school. 

Guadagnini Giuseppe IV., Turin. Ca 1890—1900. Son 
of Antonio Guadagnini. Good workmanship. 

Guadagnini Lorenzo I. Cremona, Piacenza. Born about 
1695, died after 1760. He is reported to have been 
a pupil of Stradivari and for years his assistant. His 
large pattern, which is broad, with a fine arching, 
as well as his medium model are beautifully shaped. 
The delicately worked edges and the neatly finished 
purfling enhance the beauty of his instruments. The 
sound-holes are neatly cut in a way, which reminds 
both of Guarneri and Stradivari; the rather broad 
scrolls are carved on the pattern of Stradivari. Fine 
varnish, mostly orange. The magnificent tone of his 
instruments proves that he was a great master. Price 
160.000 Kc. and more. 

Laurentius Guadagnini Cremonae 
Alumnus Stradivari fecit Anno Domini 17 . . 

Lavrentius Guadagnini Patcr, 

& alumnus AntonjStraduarj 

fecit Placentie Anno 174 i" " 

Guadagnini Lorenzo II., Turin. Ca 1790. Son and 
pupil of Giamb. Guadagnini II. of Piacenza. Exem- 
plary workmanship, gracefully carved scrolls, won- 
derful bright golden-yellow varnish. 

Lorenzo Guadagnini figlio di Giovanni Battista 
fecit in Turino an. 1790. 

Guadagnini Paolo, Turin, b. May 2, 1908, d. Dec. 28, 
1942, son of Francesco Guadagnini. Violin maker 
who exhibited three violins of fine appearance at 
Cremona in 1937. In that year he was working jointly 
with his father in Turin, Via S. Teresa 15. 

Gualzatta Benedetto, Rome. Ca 1716— 1726. Violin and 
lute maker whose works cannot be called master- 

Guardelli Brothers, Rome 19th century. Two brothers, 

who worked jointly and whose instruments are of 

average quality. 
Guargnal Rodolfo, Gradisca (Gorizia), Via Boschet- 

to 40, 20th century. Violin maker who exhibited a 

violin at Cremona in 1937. 
Guarino Battista, Ferrara. Ca 1445. Ancient lutanist 

and lute maker. 

Batista Guarinus ad Petrum Bonum Chitarristam rarrisinum. 

Guarmandi Filippo, Bologna. Ca 1795. Little known 
violin maker, lutanist. Price 8.000 Kc. 


Guarneri — a 



Guarmandi Bonoiensis 
;cit Anno 1795 

family of violin makers. 

died 1687 


Pietro Giov. 


Giuseppe Giov. 



(1706-1714 ) 


Giuseppe del GesO 

The pedigree of the Guarneri family has been 
established by the brothers Hill in the great work 
quoted in the preface. Giuseppe II (i. e. Joseph 
Guarneri del Gesu) was no outsider, but a son of 
Giuseppe I called Joseph Guarneri filius Andreae. 
Giovanni (Joannes) Guarneri, who lived in Cre- 
mona ca 1590, may have been a brother of Barto- 
lomeo, the father of Andrea (1626—1698). Sons of 
the latter were Giuseppe I (1666—1739), Pietro 
(Petrus Guarnerius I) and Ubaldo (1683). 

Giuseppe I had two sons: Giuseppe (del Gesu, 
1687-1744) and Pietro II (1695-1762). But there 
was yet another Joseph (see below). 
Guarneri Andrea, Cremona. Born about 1626, died 
Dec. 7, 1698. Son of a Bartolomeo Guarneri, the first 
master of the famous family. One of the first pupils 
of Nic. Amati and later admirer of Stradivari. 
Worked on the pattern of Nic. Amati; developed at 
a later stage a larger model with a slightly fuller, but 
practically low arching. There exist also instruments 
by him in the style of the Brescian school. Masterly 
workmanship; carefully finished purfling; full, taste- 


fully executed edges. The scrolls and the upright 
sound-holes are perfect. He applied a good, mostly 
golden-yellow, sometimes also orange-coloured and 
red-yellow varnish. He also built half-and three- 
quarter violins. His full-sized models are good con- 
cert instruments, particularly his 'cellos are excellent. 
Two of his three sons became violin makers. Before 
World War H, at the time of the Exhibition of 
Cremona, outstanding violins of his making were 
owned by Leonardo Bisiach, Milan (1675). Max 
Moller, Amsterdam (1664); 'cellos were owned by 
the Conservatory of Milan (1692), Conservatoire de 
Paris (17..), Leon. Bisiach, Milan (1740) and Lina 
Monti -Moro, Milan, without indication of year; 
Emma Borini-Martelli also owned an undated violin. 
Also pupils worked under his guidance, as is shown 
by a label below. Price 160-320.000 Kc. 

Dimensions of instruments built 
by Andrea Guarneri: 

Length Width Width Width 

o£ of of of Sides 

top top centre bottom upper lower 

Violin 1638 351 165 105.5 203 - - 

Violin 1672 351 164 104 198 - - 

Violin 1687 355 165 106.5 204 - - 

Viola 1676n 423 198 - 245 33 37 

'Cello 735 360 - 445 112.5 115 

'Cello Bockman 737 361 - 445 114 114 

'A'^iWws tjuariferius^ali^hiSI tslitoUi^mtticv'tff 

%J%. ^-rcn.onx iub nfnj^ SaiKl£ £crcf}Acj:<^ 

..S*4»«*« ^IJ^. ,•>-*« 

Sub dyBPRi Andrcf Guarnerij inthm^ 



Cvmimnm -''-I'i 

(^^^'< c. 

ifoliarflerius fecit Crei^cm sc fufe 

^ .i-Li ,.^, ...^._^,*..^ _L.-.^»*^-itiJ*«e.-.- -.-tSill)*!.- 

Aftdr«aiijC>u3yr^»^ ex alumnis Nicx>Iai AtTjrtt 
■ feck CretnonjE Tub titulo San(5l« Tcrefi*- ■', 

Andreas Goarnerins fccic Crcmonf Tub tituIo 
SanCls Tcrcliac / ^ 7 '^l 

^Wlrca'; Guarae/ius atumnus 
dMscohi Amiu/ccit Crcinoriic 
IwD uialo S»T6tat Tcrdlaf t66:: 


Andfeas 0*!!rRfrr«s~A!u»attS^{ce!ai- 
Am4tl|c«it Orcmoaic* i 66 3 

Guarneri Giuseppe, known as Joseph Guarnerius filius 
Andrea, Cremona. Born Nov. 22, 1666, died about 

Younger son and successor of Andrea Guarneri. He 
had four daughters and three sons, of whom Pietro II 
was a violin maker: but also Giuseppe de Gesu was 
almost certainly his son (according to Hill Bros). 
With his brother Pietro he took over his father's 
workshop and they ran it in company, each signing 
his own instruments. He worked carefully and in 
a clean manner on a slightly smaller model with 
a low arching. His broad sound-holes are rather 
upright, in a lower position than usual; they still 
remind us of Amati. He used very fine wood: the 
belly has mostly wide grain, the back is always of 
wonderful curled maple. He applied a golden-yellow, 
bright brown or red-brown, always transparent 
varnish of a strong oily lustre. The best violin 
maker of the family beside Guarneri del Gesu. His 
most valuable works are those built in the years 


* Prof. Dr. Tullio Belloni, Giuseppe Guarneri, in the book. 
L'esposizione di liuteria antica a Cremona net 1937. 


1695—1730. There occur also works of less out- 
standing quality; the two brothers seem to have 
finished only works of high value, leaving in the 
hands of their workmates the making of inferior in- 
struments. There are instruments built on the pat- 
terns of Amati, Stradivari, Andrea Guarneri, and 
even some which remind one of the model of Gasparo 
da Salo. The tone is always powerful and noble. 
Much coveted instruments. Price 160 — 250.000 Kc. 

Joseph Guarnerius filius Andreae fecit 
Cremonae 1707. 

trcBHiP^ {\tb titulQ S* Tcrtije tfa^ 



lofepii Guamerrai ftlius And mas fecit 
Crctnonefobtitulo S. Teresifi iJ^jT \ 

lofcph Guarnerius filius Andreae fecit 
Crcmone fub titulo S- Teresie 17^,^ 

Guarneri Giuseppe, called "del Gesu", Cremona. Born 
Nov. 16, 1687 at Cremona, died 1744. Son of Giu- 
seppe Guarneri, fil. Andreae, brother of Pietro 
Guarneri II (1695 — 1760). His life is said to have 
been troubled and rather unhappy. It is mostly wrap- 
ped in darkness; we must content ourselves with 
the scanty facts inferred from his instruments and 
with the results of the extensive investigations made 
by the brothers Alfred and Arthur Hill, London. 
(The Violin Makers of the Guarneri Family 1626 — 
1762.) Del Gesii was a pupil of his father, not of 
Stradivari. He was an artist of genius, gifted with 
the same outstanding talents as Stradivari. His work 
of life can be divided into three periods: 

1. Up to the year 1730 he was experimenting, 
changing the shape of instruments and sound-holes; 
at this time his workmanship was not of the best, but 
the tone is always fine and powerful. 

2. 1730 — 1742. This is the period of his most 
prolific work: unsurpassed specimens of established 
shape, beautiful model; faultless workmanship; won- 
derful wood, as a rule curled on the back like a tiger's 
skin; transparent varnish of wonderful lustre and 
unique quality, deep golden-yellow, sometimes with 
an uppermost red coat. 

3. 1742—1744: quick, yet careful workmanship; 

grand excellent tone. At that time he is said to have 
been held in prison. However, the so-called "prison 
violins" ascribed to him seem to be fakes. The time of 
his productive years was very short in comparison 
with the long, calm life of Stradivari. Unlike Stradi- 
vari, he did not work for patrician and aristocratic 
houses; consequently there could not survive so many 
instruments by him as those by Stradivari which 
were often preserved in the collections of prince- 
ly maisons. Nevertheless, there are known about 
50 violins, 10 violas, one 'cello and two contrabasses. 
(The genuineness of the 'cello and contrabasses has 
been disputed, but we have seen the 'cello: it had all 
marks of genuineness as well as a guarantee by K. B. 
Dvorak, testifying it to be the work of Giuseppe 
Guarneri del Gesu.) Various influences, a good 
school and the Brescian masters' works were the pre- 
paration for Guarneri's unique model of world re- 
nown. His first works sometimes remind of those of 
Stradivari; one guaranteed violin has Stradivari 
sound-holes; sometimes there is unmistakable influ- 
ence of the Brescian masters, especially Maggini, in 
the corners and sound-holes. The works created at 
a later stage bear, however, quite a personal char- 
acter. He worked on two patterns (always broad): 
a shorter one and a large one. His workmanship is 
of exemplary perfection, the wood fine, the yellow, 
golden-yellow and deep-red varnish, very transpa- 
rent, applied in thin coats and shining with a won- 
derful lustre, is unsurpassed. The tone of his instru- 
ments is full of power, round, colourful, firm, and 
represents a combination of the Cremonese ideal of 
tone with the manly sonority of the great Brescians. 
On his labels he used the Eucharistic sign I. H. S. 
(In Hoc Salus or lesum Habemus Socium.) He is 
buried in the Santa Casa cemetery in Cremona. 
Price 650-800.000 Kc. and more. 

jofeph Guarocrius fecit 4* 
I Ctemanai anno 17 IHS | 

Jofcph GuarmrHJS fecit ^f- 
.Cremon^iinnpi73a iJ-lS 



I73X ifiS 

Guarneri Joseph, Cremona, 1706—1714. 

In all probability a son of Pietro Guarneri I (b. 
1655, d. 1728) and grandson of Andrea, but pupil of 
Andrea Gisalberti in Bozzolo, a place in the neigh- 
bourhood of Mantua. Thus far no author has had 
the courage to believe in the existence of this master. 
They used to identify him with Joseph Guarneri del 
Gesu, or with Joseph G. filius Andreae. However, his 
labels contain neither the Eucharistic sign IHS nor 
the words, filius Andreae, which are never omitted in 
the labels of the latter. The second conjecture seems 
to us out of the question, as Joseph filius Andreae 
was firmly established in Cremona and stayed there 
throughout the years 1706—1714. As for J. G. del 
Gesu, he was in 1706 a youth of 18 years and nothing 
indicates that he had learned the craft at Bozzolo. 
Joseph Guarneri filius Andreae had had a son Joseph 
who died soon after birth (b. June 8, 1683) and it is 
possible that Pietro Guarneri I gave this popular 
name to his first son (who remained the only one) 
before his brother in Cremona had another Giu- 
seppe, who was later to become so famous. Pietro I 
had worked jointly with father and brother, but had 
moved to near-by Mantua after the former's death, 
while the latter took over the workshop. Our Joseph 
was at the time about 13 years old and may have 
been apprenticed by Gisalberti in order to enrich the 
tradition and experience in the family. Gisalberti was 
then an old man and was carrying on the tradi- 
tions of Maggini and Gasparo da Said. After leaving 
Gisalberti and probably after further practice with 
his father our Joseph Guarneri must have returned 
to Cremona where he established himself before 

His work appears in the few instruments known 
as a combination of the Guarneri craftsmanship with 
Brescian elements. The specimen of which we give 
a photograph is allonge, i. e., longer, but narrower 
than usual. It has a rich tone, is rather massive and 
covered with an excellent golden-yellow varnish. 
Other specimens — one used to be in Paris — have 
a golden-brown colour. 

I Jos«j)h Guimertus $ 
i5 Alumnus Andrt*GtsalbeTti * 
fecit Cremona .,174 6 2 

Guarneri Pietro Giovanni I., Cremona, Mantua and 
Venice. Born Feb. 18, 1655 at Cremona, died in Ve- 
nice 1728. Son of Andrea Guarneri; reportedly a 
pupil of N. Amati, but his own work supports the 
natural assumption that he was apprenticed by his 
father. In 1680 he went to Mantua and returned to 
Cremona in 1698. He adopted on the whole the large 
model of N. Amati, but the influence of Stradivari 
is unmistakable and some traits are taken over from 
Stainer. His violins have a beautiful shape, broad, 
neatly cut sound-holes, broad, beautifully carved 
scrolls, very fine wood, a pale red or golden-brown 
varnish. The arching is somewhat full. At a later 
stage he made the upper part of the belly broader. 
The purfling on his instruments is for the most part 
not so well executed. The tone of his instruments is 
less powerful, but very sweet. Excellent are his 'cellos, 
with the sound-holes located in a low position. He 
built them on a large pattern as well as on a smaller 

A viola built by him is sized as follows: length of 
back 390 mm, upper width 189 mm, middle bouts 
157 mm, lower width 237 mm, length of sound-holes 
90 mm. Price 300.000 Kc. 

Petrus Guarnerius Gremonensis fecit 
Mantuae sub tit. Eanctae Teresiae 16 . . 



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"«. <3t. «.:-?■<-■ U- 

\ '•• " f !l'**f»*<»» f*>».i. 

w . 

?fTn)i CtumfKoJ Cftmorttnrit ftliui Andfr* 
If- t Miof j»fub,tit,Un(*ir fcrril* \i%^ 


Guarneri Pietro II. Cremona, Venice. Born at Cre- 
mona on Apr. 14, 1695, died in Venice, 1762. Son and 
pupil of Giuseppe Guarneri, fil. Andreae. Worked 
after the fashion of his uncle Pietro Guarneri, in 
whose workshop at Mantua he was for some time 
employed. He worked also on the patterns of Stradi- 
vari and Amati. Instruments by him are of flat arch- 
ing, fine wood; faultless workmanship. The purfling 
and edges are executed in a very fine manner. The 
characteristic sound-holes are upright, delicately cut, 
rather long: the large, flat scrolls tastefully carved, 
glorious varnish, like that of Pietro I. In 1723, he 
left Cremona for Venice. Particularly excellent are 
some of his 'cellos. All his instruments have an ex- 
cellent tone and they are coveted as concert instru- 
ments. Price 160-300.000 Kc. 


of some violins: 



Length of back 

353 mm 

355 mm 

Upper width 

164 mm 

165 mm 

Centre width 

106.5 mm 

108 mm 

Lower width 

198 mm 

200 mm 

Petrus ■ Guaroerius Filius^ 
loieph Creraoncnlis- | 
fecit AnaqiTj^^i^'- 
Venctijf . ^ ^ 

^sbf .«r* ^sj' '^^«» ^^^ '*^ ^^-^ "^ 'fi*^ 

. . Anno 1-7. * ''u ' 



Pctfrt^ Guarnefius Crcmortcnfis 

[ Filii TOlct' i dcit Vcnctl^ Annoi7iS- 

— - — ^ — VST' ■ — ' — '" — i^^*r" — 

\ Petrus GuarnenusFilius Joseph 3^ 
\ Cremoucnsis Fecit Venetijs 

atino 17^0 


€'. *.^ ^,' ' A'Sfc' ^l^' Sir' «rf;>S«? '*^ '■'^ 'a' '^ '=*^***' '^ «' 




c. r. 

J t ■^. ^ , 

#-W.X1;-''>T 'v.,'-;/ >:-'.- 

^1 Petrus Guarncnusriiiu.s Jolcph dSt 


Crcmoiicnfis fccir Vcncti is 

Guarneri Ubaldo, Cremona. 1683. Perhaps a son of 
Andrea Guarneri. Excellent instruments, though 
somewhat inferior to those built by his namesakes. 

Guarneri Caterina, Cremona. Perhaps a sister and 
pupil of Giuseppe and Pietro Guarneri or the wife 
of one of the Guarneris, who ran a violin workshop 
after her husband's death. It is not quite sure wheth- 
er she really made any violins herself. In 1912, the 
Prague violin maker B. Lantner owned a viola bear- 
ing Caterina Guarneri's label: it was sold at the price 
of K. 1.000, old Austro-Hungarian currency. 


Guastalla Alfredo, Reggiolo, a pupil of Stefano Scaram- 
pella, b. Nov. 11, 1898. His instruments, when signed, 
are of the same character as those of his brother 
Dante. For the most part the brothers worked to- 
in REGGIOLO— Emilia ITALIA 1949 

Guastalla Dante, Reggiolo (Reggio d'Emilia) b. Oct. 11, 
1893 in Reggiolo, pupil of Stefano Scarampella of 
Mantua, worked on the models of Stradivari, Guar- 
neri and Balestrieri: instruments of his own design 
are golden red. Careful work. Was aided by his 
brother Alfredo. 

Dante e Alfredo Guastalla 
Anno 1949 





Fabbricatore e Riparatore istrumenti ad arco 

in Reggiolo— Em. ITALIA 1949 

Gudi Hieronymus, Cremona. 1726 — 1727. Masterly 
craftsmanship, wonderful wood, golden-yellow var- 
nish, beautiful noble tone. Price 24.000 Kc. and 


Hieronimo Gudi da Cremona 1727. 

Guerra Alberto, S. Donnino Nizzola (Modena). B. 1908. 
Instruments with yellow alcohol varnish. 

Anno 1945 


Guerra Evasio, Turin. B. 1880, pupil of Carlo Oddone, 

worked on various patterns and used an oil varnish 

of golden-red or red colour. 
Guerra Giacomo, Modena, beginning of 20th century. 

Average work, brown varnish. 
Guerrini Giuseppe, Siena. Ca 1813. Good workmanship. 
Guglielmi Giovanni Battista, Cremona 1747. Good 

master; he worked on the pattern of Amati. Price 

12.000 Kc. 
Guidante Bernardo, Genoa ca 1750, followed N. Amati. 
Guidante Floreno, same as Florenus Guidantus, see 


Guillani Sanctus, Rome ca 1710. Violin maker, little 

known. „ _ .,, . 

Sanctus GuiUani 

fecit Rom 1710. 

Gulino Salvatore, b. in Cataldo (Caltanisetta) Nov. 2, 
1910, Cataldo, Girgenti (Sicily), Palermo (Sicily) 
and Pinerolo. Stradivari and Guarneri models, but 
he was also cabinet-maker and repairer. 

Gusetto Nicolo, Cremona. 1785-1828. Built high- 
arched instruments. The sides of his violins (both 

top and bottom sides) measure 32 mm. Short sound- 
holes. The purfling is not evenly finished. He applied 
a yellow or brown varnish. The wood is not of the 
best quality. 

Nicolaus Gusetto Fiorentinus 

Musicus Instrumentalis 

a Cremona. Ao 1785. 

Nicol. Gusetto Firentino 
Fabrricante di violini, Cremonae (written) 

Gusnasco Lorenzo, Pavia, Venice. Ca 1500. Renowned 

lute maker. 
Guzzi Luigi, Brescia. Known is one viola da gamba, 

dated 1540. 

Guzzi Luigi S. Savino, Fecit Bresciae 
Anno 1540. 


Harford Patrick, Rome ca 1742. A foreigner who 
worked in Rome in the style of the Italian school. 
His beautifully shaped instruments are coated with 
bright brown varnish. 

Harton Michael, Padua. Ca 1602—1624. Lute maker. 

Padove Michielle .... on 
M -4- H 

in Padova 
Michielle Harton 160. 

Hec (Hek) Giovanni, Rome ca 1606. Probably a Ger- 
man (Italianized his name into Ecchio). He seems 
to have worked as a lute maker in Rome as early 
as 1590. 

Heel Martino, Genoa. Ca 1697-1708. Built high 
arched instruments and applied a brown-red varnish 
of splendid lustre. 

Mardino Heel in 
Genova 1697. 

Heisele Jacob, Modena ca 1614—1619. Violin and 
lute maker, probably a German from Tirol. 

Hesin Giacomo, Venice ca 1566. Lute maker. 

Hetel G. Rome Ca 1763. Lute and guitar maker. 

Hieber Giovanni, Venice ca 1560—1590. Known from 
a lute bearing the following label: 

Giuane Hieber 

e Martino Facebit [sic] 

in Venezia Ao 1581. 

Hoch Christian, Venice 17th— 18th century. Probably 
a German settled in Venice. His workmanship is 
more after the German school than in the style of 
the Italians. 

Hocha Gasparo dall', Ferrara, see Dall'Hocha. 

Horil Jacob, Vienna, Rome ca 1720-1759. A Czech 
from Vienna, who moved to Rome in 1740, where he 


soon adapted himself to the Italian ways of violin 
making and built good instruments. He applied a fine 
yellow varnish. 

Jacobus Horil fecit 

Huetter Martin, Rome, 19th century. Perhaps a Ger- 
man resident in Rome. 

Imperio Annibale, Pisa, ca 1750. 

Annibalij Imperij 
opus. 15. 

Annibal Imperii 

S. Angeli Pisauri fecit 



Indelanch Stephan, Rome. Ca 1640— 1643. Lute maker. 

Indelicato Salvatore, Catania (Sicily). Ca 1889. Indus- 
trial manufacture of mandolins. 

Indri Antonio, Venice. Born about 1781, died in Ve- 
nice on Dec. 26, 1864. Son of Giuseppe Indri. He 
also owned a business, trading in various musical 
instruments, which he managed far better than his 

workshop. , ^ • x j • 

^ Antonius Indri 

fecit Venetiis Anno 1807 (written) 

lonata Luigi, Messina, b. May 25, 1883 in Messina, an 
amateur: red spirit varnish. 

Prof. Luigi Jonato fecit 
Messina 1949 

Isep Carlo Giuseppe, Milan, ca 1800. Violin maker of 
medium skill. 


Jansen Andrea, Padua, ca 1629. Probably a Norther- 
ner, otherwise unknown, who lived in Italy only 

Jori Enzea, Modena, b. Aug. 4, 1891, in the same town. 
Copyist of old masters who used varnish of various 
colours and composition to suit the case. 

Jori Enea 

fece in Modena 


Jori Leandro, Sesso (Reggio Emilia), 1819 — 1880. He 
applied himself more to repairing work than to the 
making of new instruments. The tone of the few 
instruments left by him is good. He worked on the 
flat pattern of Stradivari. The wood, particularly 
the pine of the belly, is good; the sound-holes are not 
delicately cut: the purfling, finished in a clean and 
neat manner, is inserted farther from the edge. The 
varnish is applied in thick coats. Price 8 — 10.000 Kc. 

Jori Orlando, Modena b. 1915, son and follower of Ensa 
Jori whom he assisted in his workshop. 

Jori Orlando 

Fece in Modena 


Jorini Antonio, Secondigliano near Naples, later Mi- 
lan, is working together with his son Enrico under 
the firm of Jorini and son. 

Jorio Giorgio fu Luigi, Molise (Campobasso), exhi- 
bited a violin at Cremona in 1937. 

Jorio Vincenzo, Naples, ca 1780—1849. Worked, on 
the one hand, on the large flat model of Stradivari, 
on the other according to the high pattern of Stainer. 
The wood of both belly and back is good, but mostly 
rather thick: the broad scrolls are not delicately 
carved. It is true that these instruments are of objec- 
tionable workmanship, but if they are rebuilt, they 
become (according to Hamma) excellent concert 
instruments. He applied a varnish shading from 
lemon-yellow to brown-yellow and reddish-yellow. 
Price 16.000 Kc. and more. 

Vincenzo Jorio Fabricanti 

di Strumenti Armonici 

Neapoli 1833. 

Vincenzo Jorio 


di Strumenti Armonici 

Neapoli 1849. (written) 


r Stradm 4> M. la Nutf, M a^ 

Juliano Francesco, Rome, ca 1690—1725 — violin 
maker of no particular renown. Price 12.000 Kc. 

Francesco Juliano in Roma 

ma fecit Patavii 
anno Dni 1948 

Lancilotto Jacopino, Modena. Born about 1507, died 
about 1551. Poet, painter, notary, astrologer, mu- 
sician and violin maker. A prodigy; at the youthful 
age of 13 years he is said to have had a thorough 
knowledge of Latin and Greek. He built lutes, 
violas, violas da gamba and harps. 

Landi Nazareno, Fiume, ca 1889, amateur who devel- 
oped a model of his own. 


Kasermann Giovanni, Naples, Via Carbonara 112. 

Exhibited a violin at Cremona in 1937. 
Kasperger Joh. Hieronymus, Rome, 17th century. 

A German; made lutes and theorbi. 
Kaysser Georgius. Venice. Ca 1595. Lute maker who 

was a pupil of Vend. Dieffenbrugger. 

Georgius Kaysser fabricatto 

da Vendelino Dieffenbruger 


Kaysser Martino, Venice. Ca 1609—1632. He was also 
pupil of Vend. Dieffenbrugger or Giovanni Hieber 
in Venice. Price 12.000 Kc. 

Kerlino Giovanni, Brescia. Ca 1449 — 1495. He was 
a native of Brittany in France. Some authors have 
doubted his existence. He seems to have been a self- 
taught lute and viol maker. His viols are handsome, 
of old type; one of them has a flat back. 

lo. Kerlino an 1449. 

Krebar Andrea. Padua, 16th — 17th century. Lute 
maker. Worked in company with Giovanni Krebar 
at Padua. 

Krebar Giovanni, Padua. Ca 1629. The only work still 
extant is a theorbo, now in London. 

Lafrancini Giacomo, Brescia. Born Apr. 8, 1604. 

A direct pupil of Gasparo da Salo, later assistant 

of G. P. Maggini. Anonymous work; signed are some 

small-sized violas and a 'cello. 
Lamagni Rosolino, Cremona, contemporary violin 

maker, b. Feb. 8, 1925, self-dependent since 1946. 
Lamo Antonio, Rome, ca 1610. Instruments by him 

are not known. 
Lanari Luigi, Padua, b. Dec. 4, 1920 in Vincenza. 

Orange varnish. 

Nazareno Landi. 

Parroco di S. Maria 

di Fiume fabbrico 

I'anno 1889. 

Landi Pietro, Siena, ca 1774. Little known violin maker, 
whose instruments may have been rechristened. Price 
8-12.000 Kc. 

Landius Francesco, called "II Cieco", Florence. 1325 
— 1397. Ancient lute maker and organ-builder. 

Landolfi Carlo Fernando, Milan. B. 1714, d. ca 1787. 
Worked in the style of Pietro Guarneri II, whose 
pupil he probably was, but his creations are rather 
varied. He built instruments both on large and 
small pattern, both of low and high arching; the 
belly is, as a rule, more arched than the back. There 
exist instruments executed in a faultless manner, 
and others worked with little care, which, ascribed 
to such a good violin maker, may be suspected of 
being faked. All the genuine instruments are made 
of flawless, fine wood, with edges finished in a 
plastic manner, with faultlessly executed purflings, 
reaching to the very points of the corners; the 
sound-holes are cut in a rather upright position, but 
with a very graceful bend; neatly carved scrolls; 
careful workmanship; exquisite yellow, yellow-red 
or brown-red varnish. The tone of his high-arched 
instruments is excellent, whereas those with a low 
arching are inferior. His 'cellos (of small model and 
with high arching) sound magnificently. In England 
his 'cellos and violas of smaller pattern are highly 
valued. Price 80.000 Kc and more. 

Dimensions of a violin of 1753: 

Length of back 358 mm 

Upper width 166 mm 

Middle 109 mm 

Lower width 203 mm 

Height of body with sides, belly and back 64.5 mm 

Distance between corners (belly) ... 78 mm 

Distance between corners (back) ... 79 mm 




ins Pt.T<lltUl 

!m1 us 

I .intluli) 



• 1 


t Mfdlul.M 

l.'l 111 V 

V,. S M;. 

I -"■<^:;*^'v 

i^ant.r .11* 

MO \y 


Carlo Fcrdinando Landolfi 
nclla ContraJa di Santa Margarita 
al Segno del la Sircna.Milano 1 7^^ 

eviMo da Caftd F^rdin^h^o 1 
Landolfi TAmio 


••"•♦a — -* 

Revifia da Carlo Ferdinando 
Landolfi TAnno 17 ^/ 

Landolfi Pietro Antonio, Milan. 1750—1800. Son and 
pupil of Carlo Ferd. Landolfi. He lacked his father's 
skill. His instruments are of slender shape and high 
arching, but there are also broad and flat specimens. 
The scrolls and sound-holes are well cut, the tone 
fine. Price 30-40.000 Kc. 

Lanza Antonio Maria, Brescia. 1675—1715. Worked 
in the style of Giov. Paolo Maggini. Small model, 
well finished purfling placed at some distance from 
the edges, the sound-holes cut in an upright position. 
The rather large scrolls lack grace. Red-brown 
varnish. Price 20-28.000 Kc. 

La Rosa Giuseppe, Catania (Sicily). Manufacturer of 
guitars and mandolins. 

Lassi Enzo. Faenza, b. Jan. 26, 1927, son and probably 
also pupil of Francesco Lassi. 

FAENZA 1949 

Lassi Francesco, Faenza (Ravenna), Via Domizia 84. 
Exhibited a violin at Cremona in 1937. 

Francesco Lassi 
face in Faenza 1918 

Francesco Lassi face 
Faenza — An. 1949 

Lauro Antonio, Rome 1608—1610. A Flemish lute 
maker in Rome. 

Lavazza Antonio Maria, Milan. 1703— 1722. Worked 
in the style of J. B. Guadagnini I, but took a lower 
arching and even the outline according to Stradi- 
vari. He was a skilful and careful master, but used 
mostly wood of inferior quality; applied dark red- 
brown varnish in thick coats. 
Price 20-30.000 Kcs. 

Antonio Maria Lavazza fece in 

Milano, habita in contrada 

Largha 1703. 

Lavazza Santino, Milan 1634. 

Lavazza Santino, Milan. 1718—1780. Son of Antonio 
Maria Lavazza. A violin he made in 1734 is in St. 
Vitus' Cathedral of Prague, another in St. Vojtech's 
church in Prague. Price 15-20.000 Kc. 

Pietro Antonio figfio di 
brio Ferd tnando landolR 

IftMifano a( Segno deJIa 


Pietro Antonio figfio di 
Carlo Ferdinando Laadolfi 
in Milano al Segno della 
Serena I Anno 1 7^^ 

Santino Lauazza fecc in 
Milano in Contrada 

Lavezzani Antonio, Bergamo. Ca 1860. Repaired in- 


Antonio Lavezzani 
reparo nell anno . . . Bergamo via XX settembre 29 — 33. 


Laviguetta Antonio, Milan, ca 1900. Few instruments in 
the style of the Neapolitan masters. 

Antonio Laviguetta 
face in Milano An 1900. 

Lazzaretti Francesco, Vicenza. 1852—1900. 
Lazzaro Giovanni, called Rosario, Messina, (Sicily). 

Born in Messina Nov. 22, 1913. Stradivari model, 

yellow or yellow-brown spirit varnish. 

Giovanni Lazzaro 
Messina anno 1949 

Leh Mathias, Piacenza, ca 1775. He came probably 
from Bratislava or Vienna, where the Lebs were 
numerous. Careful workmanship, fine wood; the 
back is made of one piece of beautiful curled maple. 
Delicately cut scroll and sound-holes. He worked on 
the large model of Amati and applied good brown- 
red varnish. The measures of a violin of 1775 are: 
length of back 356 mm, upper width 161 mm, middle 
110 mm, lower width 206 mm. The top and bottom 
sides are of the same height, i. e., 30 mm. 
Price 25-30.000 Kc. 

Lecchi Enrico, Modena 1885. 

Lecchi Giuseppe, Genoa, Corso Galliera 14/13. Exhi- 
bited two violins, a viola and a 'cello at Cremona 
in 1937. 

Lecchi Giuseppe Bernardo, Genoa, b. Aug. 20, 1895 
in Felizzano, imitated the Amatis, Stradivari and 
Guarneri del Gesu using an orange varnish tinted 
with red. 

Legnamaro Pietro, Mantua. D. Feb. 12, 1569. Lute and 
zither maker. 

Legnani, Ravenna, b. Nov. 17, 1790, d. Aug. 5, 1877. 
Guitar maker. 

Legnani Luigi, Naples. 1765. Pupil of Zosino Bergonzi, 
whose works he imitated with much skill. In most 
instances he made the back of one piece. He used 
a red-brown varnish. 

Lpldl LEGNAUI «dUffltn^ 
SfiWqio Bergonzi :'ecit Nea^ <7^ 

Legnani Rinaldo Luigi, Ferrara. Born Nov. 7, 1790 in 
Ferrara, d. Aug. 5, 1877 in Ravenna, was a virtuoso 
on the guitar and built a number of guitars, tenor 
violas and violins. 

Lelli Dino, Cesena, b. at the same place May 9, 1919. 

Instruments covered with chestnut-brown or orange 

varnish. ^ „. ^. 

Lelli Dino 

Fece in Cesena 1949 

Leni Francesco, Florence, a 17th century lute maker, 
little known. 

Leoni Carlo, Treviglio, Treviso, 1851-1861. Violin 
maker who manufactured and traded in guitars and 

Leoni Ferdinando, Parma. 1816. Worked on the pat- 
tern of Amati. Instruments by him are in no way 

Leoni Giovanni, Parma. 1870. Built good instruments. 

Giovanni Leoni 

Leoni Guido, San Benedetto del Tronto (Ascoli Pi- 
ceno), b. May 15, 1902. Orange or bright brown 

Leonori Paolo, Rome. Born in Rome Apr. 7, 1903. 
Instruments of golden-yellow colour. 

Roma 1949 

Leoriporri Giovan Francesco, Milan. 1755—1759. 
Worked in the style of Amati and Stainer whose 
arching he imitated with particular skill. In Stainer's 
fashion he cut short sound-holes with circular ends. 
Varnish according to the Milanese school. 

Fatto da Giovan Francesco 

Leoriporri Milanese nel aqui- 

la 1758. 

Leper Domenico, Rome, 19th century. Made instru- 
ments, but was hardly a violin maker. 


Lepore Luigi, Rome, 1850—1880, followed the ex- 
ample of David Tecchler and applied a brownish- 
yellow varnish. His 'cellos are very good. 

Lepri Giuseppe, S. Arcangelo di Romagna, Via Cavour 

26, b. Nov. 18, 1896. Exhibited a violin at Cremona 

in 1937. 

Giuseppe Lepri 

fece anno 1947 GL 

Santarcangelo Romagna 

Lepri Luigi, Gubbio (Perugia). Ca 1880. Violin maker 
(bad workmanship). 

Leutis Gerolamo de, Rome. 1638. Lute maker. George 
Kinsky stated in the catalogue of the Cologne Mu- 
seum of the History of Music that the name had 
been read incorrectly, his true name being Giro- 
lamo Zentis. 

Liainer Alberto, Rome. 1674. 

Alberto Liainer 
In Roma 1674. 

Libera Agostino, ca 1600. A violin maker who had 
come from Paris. The Paris Conservatoire owns a 
mandora of his making. 

Agostino Libera fecit Anno Domini 1600. 

Lignoli Andrea, Florence. 1681. Known only by name. 

Linarolo Francesco, Venice. 1540. A lute maker who 
had come from Bergamo. 

Franciscus Linarolus Bergamensis 
Venetiis faciebat. 

Linarolo Giovanni, Venice. 1622. Son of Ventura Li- 
narolo and perhaps his pupil, too. A violin survives, 
provided with a label written in Indian ink. 

Giovanni di Ventura Linarol 
In Venetia 1622. 

Giovanni di Ventura 
in Venezia 1622. 


Linarolo Ventura, Venice, Padua 1577 — 1591. Son of 

Francesco Linarolo. Worked in Venice up to 1584, 

at Padua in 1585, and again in Venice in 1590. 

Maker of old-type instruments: violas da gamba 

(also lira da gamba, lira da braccio), violas d'amour, 


Ventura di Francesco 

Linarolo In Venetia 1577. 

Ventura de Franco 
Linarol in Padova (written) 

Lione Francesco, Turin, ca 1790, mandolin and guitar 


Francesco Lione 

Fabbricatore di Strumenti 

Torino sotto li Portici 

di Piazza s. Carlon 1790. 

Liorni Augusto, Rome, ca 1900, little known. 

Augusto Liorni 

Via del Gonfalone Num. 8 


Liolta Domenico, Catania (Sicily). 1911. Mandolin 

Liverani Ettore, Palermo, Via A. Veneziani 63. Exhi- 
bited two violins and one viola at Cremona in 1937. 

Livorno Vincenzo da, Leghorn. 1862. There were two 
men of this name, father and son. The father was 
indisputably a good violin maker. 

Locicero Luciano, Naples. 1830. Produced for the most 
part guitars. 

Lodovico, Genoa. 18th century. Lodovico is this violin 
maker's Christian name. His family name is un- 

Revisto da me Lodovico 
Piazza porta vecchio Genova 17 . . 



Lolij Jacopo, Naples. 1727. Worked on the model 
of Grancino. Instruments of medium quality. In- 
ferior wood, yellow varnish. Price nevertheless 15 — 
20.000 Kc. 

Lolio Giovanni Battista, Valtezze (Bergamo). 1740 — 
1750. Worked on the pattern of Grancino. The 
wood is not of the best quality. He applied yellow 
varnish. Price 15-20.000 Kc. 

Jo Batta. Lolio di Valtezze 
F. Anno 17. 

Lombardi Giulio, Rimini. 1789. 

Julius Lombardi 
Fecit a Rimini 1789. 

Longo Magno, Padua. 1599. The only instrument 
known, a lute, bears besides a label the inscription 
'M. L. 1599" engraved on the neck plate. 

Mangno [sic] Longo 
in Padua 1599. 


Lorenzo Gio. Battista Cav. (de) Vicenza. 1862—1878. 

Lorencini Gasparo, Piacenza, ca 1750. "G. L. P." is 

engraved on the back below the neck plate. Price 

8-12.000 Kc. ^ r ■ • 

Gaspare Lorenzmi 

Fecit Placentiae 1750 


fetit fUcentim 17* 


Lorenzo — Laurentius, called "Papiensis", Pavia. 

1497—1510, built lutes, violas and organs. Beautiful 

Loveri Carlo and son, Naples. 1881 — 1898. Violin 

and mandolin makers. 
Loveri Diego, Naples, b. 1888. Followed Stradivari and 

applied a chestnut-brown varnish. 

Diego Loveri 

Loveri Giuseppe, Naples, 20th century, little known. 
Lubino , Lugano. Died 1750. He is said to have 

worked in the style of the Cremonese school. 
Lucarini Vincenzo, Faenza. 1803—1820, produced 

lutes and mandolins. Violins were only repaired by 

Lucci Giuseppe, Modena, b. Sept. 17, 1910 at Bagna- 

cavallo (Ravenna), followed Stradivari and Guar- 

neri; his varnish is reddish brown. 





Ludici Girolamo Pietro di, Conegliano. 1698—1709. 
Inferior workmanship. 

Hleronymus Petrus de Ludice 

animi causa faciebat Conegllani 

A. D. 1709. 

Hieronimus [sic] Petrus de Ludice 
animi causa faciebat Conegliani 

A. D. 1709 (written) 

Luglioni (Lugloni) Giuseppe, Venice 1777. 

Lupp Franc. Antonio, see Luppo. 

Luppi Giovanni, Mantua, 19th century. 

Luppo Francesco Antonio, Milan. 1716. 

Luzzati Jacopo, Corvetto, ca 1886, amateur without 

Lybeert Alessandro, Florence. 1899. He worked in 

company with his son. Their craft was mandolin 



Maffei Lorenzo, Lucca. 1767—1787. Instruments of 
no particular merit. He worked in the style of the 
Florentine school. 
Price at most 10.000 Kc. 

Lorenzo Maffei, Lucca 
fecit 1767. 

Laurentius Maffei 
restauratur [sic] Anno 

1787 (written) 

Maggiali Cesare, Carrara (Fossola), b. Aug. 12, 1886, 
followed Stradivari, applying golden-yellow varnish. 
Exhibited four violins and a 'cello at Cremona in 






Maggini Giovanni Paolo, Brescia. Born 1580, died 
1632. Son of Giovanni Maggini (born 1518). While 
still a little boy, reportedly seven years old, he 
became apprentice with Gasparo da Salo, in whose 
workshop he was to his twenty-first year. At the age 
of thirty-four he married a girl of nineteen. During 
the first years he worked exactly in the fashion of 
his master. Later on he also made instruments on 
the pattern of Girolamo Amati. For the backs of his 
instruments he used besides maple-wood also nut- 
tree, pear, platane-tree and poplar wood. His model 
is for the most part large and broad, only some violas 
are of slender shape, but long. Sometimes he inlaid 
his violin with mother-of-pearl, ivory and ebony. 
The arching he preferred less high, but full. Instru- 
ments by him are always of beautiful workmanship 
and wonderful wood. He used to provide his violins 
with a double purfling and with ornaments on the 
back. Neatly cut, slender sound-holes in upright 
position; both plates rather thick; low sides, rather 
small scrolls which have half a turn less than those 
which became established later on; varnish applied in 
thin coats of various shades of brown, mostly light 
brown. The sound-holes of the 'cellos, cut in a higher 
position, are of particular beauty. G. P. Maggini 
created excellent concert instruments with a power- 
ful, yet mellow tone. His pupils were, besides Pietro 
Santo Maggini, A. Lanza, G. G. Pazzini of Florence 
and A. Mariani of Pesaro (according to Liittgen- 
dorff). The price is 240-320.000 Kc. Labels, if gen- 
uine, are not dated. 

Sizes of some works by G. P. Maggini: 

in millimeters: 


Length of back 369 369 

Upper width 173.5 173.5 

Middle width 115 115 

Lower width 214.5 214 

From the 

upper edge to 

the centre of 

the sound-holes 

From the 

lower edge to 

the centre of 

the sound-holes 

Length of 








386 754 




182 360 




120 250 




220 465 

- - - 197 234 210 391 

_ _ - 169 198 176 363 
_ _ _ 79 89 80 163 


Gio; Paolo Maggini in Breicia 

(Lobkowicz) collection, now in the National Mu- 
seum in Prague. 

Paolo Maggini in Btescb'';! 


Maggini Pietro Santo, Brescia. 1630— 1680. Good vio- 
lins and 'celli; still better are his contrabasses. His 
instruments are of fine wood, have neatly cut sound- 
holes and scrolls, bright yellow varnish, moderate 
arching, double purfling. There was also a certain 
Pietro Zanetto who was sometimes — quite errone- 
ously — identified with him. Price from 8.000 Kc. 

^ ' Pietro San. Maggini 

Bresciae 1641. 

Maglia Stelis, Cremona, b. May 25, 1925 at Cingia di 
Botti near Cremona, imitated G. P. Maggini, Stradi- 
vari and Guarneri del Gesii. 


Diplomato delta Scuola Int. Liuteria 

fece in Cremona I'anno 1949 

Magnoni Carlo Antonio, Senis, ca 1514. A native 
of Bologna, a monk of the order of St. Augustin. 

F. Carolurus Antonius Magnoni 

de Bononia ordinis minorum Conventualium 

Fecit Senis 

Anno 1514. 

Magnus Antonio, Naples, 18th Century. Worked in 

the style of the Neapolitan masters. 
Magri Francesco, called "Bischeri", Livorno. 

1766 — 1784. Good workmanship. 
Mainelli Luigi, Cremona, ca 1823. Good instruments 

of low arching, coated with a beautiful red varnish. 

Trade-mark: L. M. C. 
Malagoli Eleuterio, Modena. Died 1827. Guitar maker. 
Malagoli Folgenzio, Modena. 1856. Repaired instru- 
ments with much skill. 
Malagutti Arminio, Milan, b. May 23, 1914 at Pali- 

dano di Gonzaga (Mantua), pupil of Stefano Sca- 

rampella of Mantua. 


Maldura Giovanni Battista, Rome. Ca 1900. Guitar 
and mandolin maker. 

Maler Laux (Lucas), Bologna. 1500—1528. Lute and 
viola maker. Two lutes by him were in the Roudnice 

Malaguti Erminio 


Fece nell'anno 1947 


Maler Sigismondo, Bologna, Venice. 1460—1526. 
Skilful lute maker. 

Malta Simone, Venice, ca 1499. A mere name, (was 
sometimes erroneously identified with Sigismondo 

Malvolti Pietro Antonio, Florence. 1700—1733. Buih 
good instruments on the pattern of Stainer, the lon- 
ger sound-holes, however, are in the style of Nic. 
Amati. He applied yellow varnish. The scrolls are 
beautifully carved, the edges narrow, rather high, 
like those made by Giov. Bat. Gabrielli, who may 
have been a pupil of Malvolti. Price 16.000 Kc. 

rr : errr \ "j 

fettMi AntonTu<{ Malvolf J .'j 
Ilorcnt. fecit Aano tT0iH 

Mambelli Guido, Forli. Born in Fiume (Forli) on May 
16, 1904, independent since 1925. He is working on 
the models of various old Italian masters. 

Guido Mambelli 
Forli 1947 

Man Hans, Naples. 1710—1750. Worked on the pat- 
terns of Stradivari and Guarneri. Lutes by him are 
known for their quality. 

Hans Man 
fecit Neapoli Ao 1736. 

Mancini Giuseppe, Cortona (Prov. Tosca). 1839. 

Mancini Ventura, Padua. 1678. Good lute maker. 

Mandelli Camillo, Calco (Como). Born 1873. Pupil of 
Riccardo Antoniazzi. He went to Buenos Aires in 
1899, returned in 1920. He worked conscientiously 
on various patterns of old masters, applied good 
brown-red oil-varnish as well as spirit varnish. 
Instruments by him are highly valued. 

Fecit Anno 1922 

Mandina Francesco, Castelvetrano (Trapani), b. Jan. 
13, 1874, d. Jan. 29, 1941, had one violin at the Cre- 
mona Exhibition in 1937; Stradivari pattern, varnish 
of various, sometimes unusual hues. 

Manfredi Francesco, Modena, b. 1902 at Colombaro 
di Formigine near Modena, followed Stradivari, 
later developed his own model; handwritten labels 
and branded initials. 


Manjredi Giambattista, Airuno near Como, 19th cen- 
tury maker of guitars and mandolins. 

Manjredini Eros, Milan 1940, soon vanished from 
sight as violin maker. 

Manfrini Luigi, Rome, ca 1810, devoted most of his 
time to repairs; his own instruments are built on the 
Stradivari model. 

Luigi Manfrini restauro in Roma 1810. 

Mango- Longo, Naples. 1749. Built guitars and mando- 
lins inlaid with mother-of-pearl and ivory. 
Mani Paolo, Modena, 1809—1811. Besides violins he 

made guitars. 

In Modena Paolo Mani 

fece anno 1809. 

Manni Pietro, Modena. 1827. Son of Paolo Mani. He 
produced only guitars and mandolins. 

Manosi Matteo, Cremona. 19th century. Good work- 
manship on the model of Amati. Price 15.000 Kc 
and more. 

Mantegazza Carlo, Milan. 1760. Perhaps son of Pietro 
Giov. Mantegazza. A good master. 

Mantegazza Francesco, Milan. 1747—1790. Good 
workmanship in the style of Amati. He was a brother 
of Pietro G. Mantegazza. Price 30.000 Kc. 

Petrus Joannes ManUsath fed! Me. 
^ dioUni in Via S. NfargarKc ^ijS^i 



Francesco Mancegasza neUa Coneradi ; 
4i Sant4 Margarita In MitanQ j 

Mantegazza Giovanni, Milan. B. 1760, d. 1790. Per- 
haps son or the youngest brother of Pietro Mante- 

Mantegazza Pietro Giovanni, Milan. 1750—1790. The 
best master of the family. Built instruments on the 
large model of Nic. Amati; worked at first in com- 
pany with his brothers, later alone. Beautiful work, 
lower, but broader arching. Fine wood; the some- 
what large scrolls are delicately carved and taste- 
fully shaped. Best are his violas. He applied a red, 
sometimes also dark orange or chestnut-coloured 
varnish of inferior quality. Instruments by him are 
of good tone and their price fluctuates between 
25-40.000 Kc. 

Petrus Joes fratresq. Mantegatia 
Mediolani in Via S. Margaritae anno 17 . . 

Pietro Giov. e fratelli Mantegazza nella 

Contrada di Santa Margarita in Milano 

al Segno dell'Angelo 1770. 

Petrus Joannes Mantegatia 
fecit Mediolani in Via S. Margaritae. 

Mantelli (Christian name unknown), Modena, 18th 
century. Good contrabasses. 

Mantovani, Parma. 16th century. Little known violin 

Mantovani Alesandro, Parma. 18th century. Little 
known viohn maker, a pupil of Rocca. He worked 
on the model of Stradivari. Fine, original scrolls, 
tastefully cut sound-holes, red oil-varnish of good 
quality. Good finish; fine mellow tone. 

Alessandro Mantovani 
fece in Parma Anno 1853. 

Manzini Lodovico, Modena. Born 1804, died 1878 at 
Reggio Emilia. Guitar and mandolin maker. 

Manzone Giovanni, Milan 1624. Lute maker. 

Maprochini Giuseppe. Ca 1801. Unpretentious violins 
of good tone. 

Marafi Ambrogio, Milan. 18th century, made good 
lutes and mandolins. 

Ambrogio Marafi 
Milano vicino a St. 
Giovanni alle case rotte (written) 

Maratea Domenico, Naples. 1887—1900. Mandolin 
maker. Worked with his brother Michele and his 
sons under the firm: Maratea Michele e Domenico 
e figli. He built but few violins, on the pattern of 

Maratea Michele, Naples. 19th century. Worked in 
company with his brother in the style of Vinaccia. 

Maratti Giambattista, Verona. 1690—1700. Built 
middle-sized instruments of medium quality. 

Marcelli Giovanni Antonio, Cremona. 1696—1697. 
Good workmanship; particularly the 'celli are excel- 
lent. He applied yellow or red-yellow varnish and 
made purflings of splendid finish. Price 24.000 Kc, 

'cello more. 

Joanes Marcelli 

fecit Cremonae 

MDCXCVI (written on parchment) 

Marco Antonio, Venice, 1700. 

Marconcini Gaetano, Ferrara. 1830. Son of Luigi 
Marconcini. Instruments of medium quality. 


Marconcini Giuseppe, Ferrara. Born about 1774, died 
Jan. 17, 1841. Son of Luigi Marconcini. Worked on 
the pattern of his master Lorenzo Storioni. Instru- 
ments by him are of good wood, have rather high 
edges, medium arching, small, well-carved scrolls, 
long sound-holes. He applied a good golden-yellow 
or red, but somewhat hard, varnish. Worked con- 
scientiously. He was also a good violinist and per- 
sonal friend of Paganini. Price 20 — 25.000 Kc. 

Marconcini Luigi, Bologna, Ferrara 1760 — 1791. Re- 
portedly a pupil of Omobono Stradivari. Since the 
Hill Bros, declared they had never seen any instru- 
ment by Omobono they could acknowledge as gen- 
uine, the conjecture is certainly only an attempt to 
bring Marconcini in connection with the magic 
name. He does not need it, for he was a good master 
in his own right. Especially his violas and contra- 
basses are of excellent quality. He applied a good, 
delicately red varnish. Price from 30.000 Kc up- 

Luigi Marconcini 
F. Bologna. 

Luigi Marconcini 
in Ferrara. 

Luigi Marconcini 
Ferrariensis Fecit Ferrare. 

Marconcini Aloisio (but also called Luigi), worked in 
Bologna and Ferrara betw. 1760 — 1778. According 
to Rene Vannes disciple of Omobono Stradivari — 
a doubtful conjecture. Red varnish. 

Aloysius Marconcini 
Ferrariensis de Ferrara anno 1770. 

Marconi Lorenzo, Cremona, Via Giordano, b. 1881 in 
Codogno near Milan, exhibited four violins at Cre- 
mona in 1937. Oil and alcohol varnish of various 

Marconi Luigi, Ferrara. 1768. Doubtlessly Luigi Mar- 
concini, judging from the excellent contrabasses pro- 
vided with Marconi labels, the like of which occur, 
in the same quality and coated with the same varnish, 
under the name of Marconcini. Certainly a misprint. 
Besides these contrabasses no other instruments by 
Luigi Marconi are known. 

Marcucci Custode, Santa Agata. Born Aug. 20, 1864, 
applied himself mostly to the larger instruments of 
the violin family; maker of repute. 

Marengo, Rinaldi Romano, Turin. Born June 20, 1866 
at Alba (Piemont). Pupil of Enrico Marchetti. Work- 
ed before joining G. F. Rinaldi (whose successor he 
became in 1888), in Paris and London. He was an 
expert on instruments by old masters. Good work- 
manship; golden-yellow varnish. 

Marengo- Romanus - Rinaldi, 
Albensis, fecit Taurini Anno 189 

Margini Antonio, Cremona. Ca 1693. Good instru- 
ments coated with dark red varnish. For rather mys- 
terious reasons little is known of him. 

Antonius Margini 
in Cremona. 1693. 

Marchetti Abbondio, Milan. 1815 — 1840. 

He built few violins, but they are carefully finished. 
Selected wood; beautiful brown-red varnish; noble 
powerful tone. 

Marchetti — Abbondio 
Fece in Milano I'anno 1816. 

Marchetti Enrico, Turin. 1885—1930. Good master. 

Marchetti Severino, Rome. Ca 1797. Instruments by 
him are noted for their fine wood. 

Marchetti Vittorio, Turin. 1894. Son and successor of 
Enrico Marchetti. 

Marchi Gian Antonio, Bologna. 1660 — 1726. He adopt- 
ed the outlines of Alessandro Gagliano, but took 
rather high archings. His instruments are of very 
good wood; fine scrolls and sound-holes well-cut after 
the fashion of Stainer. The tone of his violins and 
particularly that of the 'cellos, is powerful and full. 
Price 25.000 Kc, 'cellos more. 

•^ Johannes Antonius Maxchi 
jS fecit Bonoiiix Anno ^^^^ I 

49ian€s Antoninj Mar&idt, 
I^cU Boaoois AtmQ vi^i 

Maria Giuseppe da, Naples. Instruments of the years 
1770—1779. Violins by him are not of good quality, 
but they are provided with a beautiful orange-yellow 


Josepli di Maria di Nap. 

in strada S. Pietro a Maiella 
fece in Napoli Anno Dni 1778. 

Joseph de Maria fecit 
Napoli 1771. 

Joseph di Maria di Napoli in strada 

S. Pietro a Majella f. in Napoli 

A. D. 1779. 


Maria Joannes, Bologna (?) 1515—1540. Old-type 
violas by him survive. Marked his labels, before his 
name, with: Casparo Duiffeprugger Bononiensis 
anno 1518. 

Maria Joannes (Giovanni) del Bussetto, see Bussetto 
Giovanni Maria. 

Mariani Antonio, Pesaro. 1636 — 1680. Worked on the 
patterns of Maggini and Gasparo da Said. Rugged 
workmanship; large, unsightly, badly cut sound-holes; 
tastelessly carved scrolls. Particularly the instru- 
ments of his younger years fall short in quality of 
the violins he built at a later stage, which are good, 
at least so far as the tone is concerned. He chose 
good wood. Applied a fine brown varnish. Best are 
his 'cellos. Price 16.000 Kc, 'cellos even more. 

Antonio Mariani 

Fece in Pesaro 

Anno 1680. 

Antonio de Marianis 
fecit Pesaro 
anno 1680. 

Antonius de Marianis 
fecit Pisauri anno 1638. 

Antonio Mariani fecit anno 1694. 

^-5aapssi»™ %i.'sw-i& 


Antonio Mariani 
Pe faro 166^ 


Mariano Davide Chirone, Como, early part of the 20th 
century. Skilful violin maker. 

Mariani Fabio, Pesaro. 1679. Perhaps son of Antonio 

Mariani Lodovico, Pesaro. 1692. 

Mariatti Giambattista, Verona. 1700. 

Built violins of medium quality on a small model. 
Price 10-15.000 Kc. 

Marino Bernardo, Rome. 1770—1805. A good imita- 
tor of David Tecchler's works. He applied red-brown 
varnish. The tone of his instruments is good. Price 
8-10.000 Kc. 

Maris , Firenzuola. Known only by name. 

Marsigliese Biagio Caruano, Rome, b. Nov. 28, 1885 
near Agrigento, chiefly noted for repairs. For his 
own instruments he used a yellow, orange varnish. 



ROMA — Via Crescenzio, 103 

Biagio Caruana Marsigliese 
fece in Roma anno 1948 

per ramico 
prof. Camillo Luzzi Conti 

Fece anno 194 . ROMA 

Biagio Caruana Marsigliese 
fece in Roma anno 1948 

Martani Antonio, Reggio Emilia. Born 1804, died 1866. 
Violin maker, noted for excellent repairs. 

Martinenghi Marcello, Milan. Via Giuseppe 81. Ex- 
hibited two violins and one 'cello at Cremona in 1937. 

Martinelli, nicknamed "il Gobbo", Modena. 17th cen- 
tury. Built chiefly contrabasses. 

Martini Odoardo (Edoardo), Florence, b. at Firen- 
zuola near Florence 1880, d. 1930. Latin labels. 
Unimportant, aided by others. 

Martini Giovanni Simone. Todi. 1608. Lute maker. 

Martini Luigi, Florence, 1635. Perhaps son of Giov. 

Simone Martini. Only lutes survive. Violins by him 

are not known. ^ ■ ■ ■., ^- ■ 
Luigi Martmi 

Fece in Firenze 

I'anno 1635. 

Martini Oreste, Mantua, Via Vittoria, b. at the same 
place Sept. 2, 1893, exhibited a violin, viola, 'cello 
and two contrabasses at Cremona in 1937. Varnish 
orange or dark red. 


FECE ANNO 19 . . 

Martini Oreste 

Instrumenti ad Arco 

Premiato con Gran Premio e Medaglia d'Oro 

Martini Oreste — Mantova 

Premiato con Medaglia d'Oro 

fece anno 19 . . 

Martina "Presbyter", Padua ca 1572; was a priest who 
is reported to have built valuable instruments. Very 
good are his guitars, rare relics. 

Martino Presbyter 
faciebat in Padova anno Domini 1572. 

Marverti A., Modena, 1834. Violins of average quality. 

Considering their usually moderate prices, they are 

fairly good. 
Mascotti Giuseppe, Revere, 1637. 

Giuseppe Mascotti 
da Rovere fecit anno 1637. 

Massai Giuseppe, locality unknown, end of the 18th 
and first part of the 19th century. Violins from him 
are not known. 













^ ™"™w* 'SSSlSSI^^SSi^ 



..M«nitf#M.^«Hb a.M, 


93. Viola: Gio Battista Gabrieli, Firenze, 1770 



9o. Domenico Galli, Parma, 1687 














100. Matteo Goffriller in Venetia, 1700 









103. Cello; Matteo Goffriller, 1732 






















no. Giovanni Grancino, Milano, 1707 


►V^t" ■ .«M ,i W ,.. 









112. Pietro GruUi 









115. Joannes Baptista Guadagnini, Parma, 1740 

116. Joannes Baptista Guadagnini, Milano, 1753 


-"-m, .- .^■ 






























123. Lorenzo Guadagnini 













126. Guarneri, 1650—1660 

127. Guarneri, 1650—1660 


128. Guarneri, 1660—1670 

129. Guarneri, 1660—1670 


130. Guarneri, 1670—1698 

131. Guarneri, 1700—1725 

132. Guarneri, 1710—1715 

133. Guarneri, 1720 


134. Guarneri, 1721 

135. Guarneri, 1725—1730 


136. Guarneri, 1725—1730 

137. Guarneri, 1730—1733 

138. Guarneri, 1730—1733 

139. Guarneri, 1730—1735 


140. Guarneri, 1740—1741 

141. Guarneri, 1740—1741 


142. Guarneri, 1740—1742 

143. Guarneri, 1740—1745 


144. Guarneri, 1742 

145. Guarneri, 1743—1744 





"•*nr«.ii;»i«««~ "»■. 







148. Andrea Guarneri 
















152. Cello: Andrea Guarneri 


153. Andrea Guarneri 









156. Andrea Guarneri, 1676 



157. Andrea Guarneri, 1690 














161. Joseph Guarneri filius Andreae, Cremona 















165. Joseph Guarneri filius Andreae, 1696 


























172. Joseph Guarneri (del Gesu — ex. Ondficek) 







^Hr ] m^m 



















■' "-'^^^ 




































194. Joseph Guarneri (del Gesu), 1742 — Paganini 























200. Cello: Petrus Guarnerius I, Mantua 









,jt- '.-fc I-. 










204. Petrus Guarnerius I, Mantua, 1727 


205. Petrus Guarnerius I, Mantua, 1727 


206. Petrus Guarnerius I, Mantua, 1727 


























214. Carlo Ferdinando Landolfi, Milano 











*^^if^4^\ , ^^^f ^ "* ^ 













218. Carlo Ferdinando Landolfi, Milano 












i rH 





223. Santino Lavazza, Milano, 1634 








Giuseppe Massai 
fece I'anno 1800. 

Massenzio Ernesta. Rome. Modern violin maker, 
b. Oct. 6, 1900. 

Mastracci Amedeo, Rome. Born March 31, 1895. Ap- 
plied a dark brown oil and spirit varnish. 

Mastracci Amedeo 

fecit Violino 20. 6. 

1950 Via dei Latini 

N 26 B Roma. 

Maurizi Francesco I. Appignano del Tronto. 1786 — 
1840. Working in the style of Maggini he created 
a very sightly model. He carved large scrolls. On 
the whole his work is good. He applied a brown- 
yellow and, less frequently dark-brown, good var- 
nish. Instruments by him are of good tone. Price 

10-20.000 Kc. ^ .^ 


Franciscus Maurizi 


Franciscus Maurizi 
Appineanensis fecit. 

Maurizi Francesco (II) Appignano del Tronto, 1816 — 
Jan. 24, 1903. Probably son and pupil of Francesco 
Maurizi I. He was a farmer, but may have had 
a part in the firm Fratelli Maurizi. 

Francesco Maurizi 

fece in Appignano 

nel 1856. 

Maurizi Giovanni, Appignano del Tronto, 1850 — 
Sept. 24, 1922. Worked along the lines of the Amatis 
and of the old Brescian masters. Was probably a son 
and pupil of Francesco I. 

Anno 1902 
fecit Maurizi Giovanni 

fu Francesco 
Appignano del Tronto. 

Maurizi Brothers, nicknamed "Pulghina", Appignano. 

19th century makers. Probably sons of Francesco 

and farmers who occupied themselves with violin 

making only in winter. 
Maurizi Fratelli, Florence, 19th century. Mandolin 

producers. They were farmers at Appignano and 

sold their produce in Florence. 
Mauro Raffaele, Catanzaro, ca 1865, produced good 

Mauiglia Francesco, Chietti (Abruzzi). Modern maker, 

b. Feb. 9, 1902; he applies an orange, brown-red 

or brown varnish. 
Mazzochi A., Milan. Ca 1901, mandolin maker. 
Mazzotti Jacopo, Florence, 1699. Son of Santo Maz- 

zotti. Skilful lute maker. 
Mazzuoli Felice, Rome ca 1783 is renowned for his 


Felix Mazzuoli Fecit Anno Domini 


ad usum Canonici Francesci Orlandi. 

Medard Henri, Turin. Born at Nancy Feb. 10, 1629. 
Frenchman, son and pupil of Henri Medard of Nan- 
cy. Reportedly very good workmanship. 

Henri Medard a Turin 

Megazzi Enrico, Palermo (Sicily) ca 1830. Instruments 
with brown varnish. 

Mei Giovanni Ranieri, Viareggio (Lucca), via S. Mar- 
tino 163. B. 1863. Exhibited a violin at Cremona 
in 1937. 

Meiberi Francesco, Leghorn. Ca 1750. 

Melagari Enrico Clodoveo, Turin. Instruments are 
dated 1860-1888. About 1872 he worked with his 
brother Pietro. Built good violins, violas and 'cellos, 
applied red and yellowish varnish. 

Melagari Pietro, Turin, ca 1850. Worked well in com- 
pany with his brother Enrico CI. Melagari. 

Melatti Luigi, Ferrara. 19th century. Probably a pupil 
of Luigi Marconcini. He worked after the latter's 
model and was no particular master. 

Meleandri Adolfo, Pisa (1940 — 45), little productive, 
imitator of the Cremona masters. 

Mellini Giovanni, Guastalla. 1768. Mediocre work- 

Meloni Antonio, Milan. Instruments of the years 
1690—1694. He came perhaps from Bologna. 
Worked on the model of Amati and was the best 
violin maker of his time in Milan. Gracefully cut 
sound-holes and scrolls; yellow varnish of excellent 
quality. Violins of very good tone. 
Price 16-20.000 Kc. 

Antonius Meloni Mediolani 
fecit A. D. 1690. 

Meneghesso Pietro, Padua, d. ca 1939. Mediocre work- 

Meneguzzi Carlo, Padua. 1884. Instruments of medium 

M enichetti Luigi, Faenza. 1851. 

Menighetti Martino, Turin, d. after 1940. Indifferent. 

Menticasia in Milan, probably a ficticious name, al- 
though it has been asserted that it stood for Pietro 
Giovanni Mantegazza or some other member of that 


Da me Menticasiae Restauravit 

in Mediolani 18 . . 

Merfeotto or Maffeotto Giuseppe, Rovigo, or Rovere. 
Both spelling of the name and the locality uncertain. 
He was even identified with Giuseppe Mascotto in 
Rovere who lived ca 1637. Specimens and labels are 
so rare that the uncertainty cannot be dispelled. 


Isepo Merfeotto di Rovigo. 

Mercati Domenico, Tortona (near Alessandria), mod- 
ern violin maker, b. 1894 in the Toscana region. 
Yellow-red varnish. 

Mercolini Pietro, called Venie, 1821 - June 6, 1891. 
Arcarano; active at various other places (Colli del 
Tronto, Contraguera, Civitella del Tronto). Instru- 
ments without finish, but with good tone, brown-red 

varnish. „. ^ ,, ... 

Pietro Mercolmi 

face in Ancarano Anno 1865. 

Pietro Mercolini 
Fece in Contraguera nel 1852. 

Merighi Ant., Milan. Ca 1800. Perhaps son of Pietro 

Merighi, guitar maker. 
Merighi Pietro, Parma. Ca 1770. He devoted himself 

more to the production of guitars and mandolins 

than to violin making. 

Pietro Merighi detto de Leoni 
Fece in Parma I'anno 1794. 

Petrus Merighi 

fecit Parmae 

anno 1770. 

Merloni Pasquale, Ascoli, ca 1818. 

Pasquale Merloni Ascoli 1818. 

Merosi Giuseppe, Firenzuola. Ca 1846. 

Messini Alfio, Catania (Sicily) b. March 15, 1889 in 
Adderno, careful violin maker who applied a golden- 
yellow varnish and provided his works with the 
initials A. M.H.C, sometimes also IMI (i.e. Jesus, 
Maria, Joseph). 

Alphius Messina ab Hadrano a M H 

Faciebat Catanae A. D. ni 1948 p 

Messini Girolamo, called Arcangelo, Florence ca 1687, 
lute and guitar maker. Violins, if any, are rare. 

Messori Pietro, Modena. Born Oct. 18, 1870 at Mo- 
dena, ran a workshop in Via Emilia 20. Built very 
good instruments on the patterns of Amati and 
Guarneri. The specimens he exhibited at Cremo- 
na in 1937, six violins, two violas and one 'cello, 
were splendid. He applied agate-red, red-yellow and 
amber-yellow varnish. 




faifo CAn^no 19 


Mezzabotte Domenico Giov. Battista, Brescia. 1720 — 
1765. Instruments of no particular merit. 

Mezzadri Alessandro, Ferrara. 1690—1732. The state- 
ment that he was a pupil of Stradivari has not been 

confirmed. Instruments by him are built after the 
fashion of Joseph Guarneri, son of Andrea. The 
wide-grained wood of the belly is good, the maple- 
wood very handsome. Narrow small sound-holes in 
the manner of Amati, tastefully cut scrolls. He 
applied a fiery red, yellow, red-yellow or brown- 
red varnish. Careful workmanship; instruments of 
fine tone. Price 80.000 Kc. 
Mezzadri Francesco, Ferrara, Milan, 1700—1758. 
Worked in the style of his father Alessandro, whose 
pupil he was, but with less skill and less carefully. 
Works by him are little known. He applied a red, 
amber coloured or red-yellow transparent varnish. 
Price 10-15.000 Kc. 

Francesco Mezzadri 

fece in Milano 1749. (written). 

Mezzano Frederigo, Venice. Ca 1695. Good instruments 
which he liked to embellish with ivory and ebony. 
He built violins on a small model. The scroll of one 
violin is adorned with a gracefully carved head of 
a Moor. 

Frederico Mezzano fecit Venezia Anno 1695. 

Miani .... Bologna, 19th century. Known only by 
his family name. 

Miani Domenico, Ravenna, 18th century guitar maker. 

Miari Noe, Crespino (Rovigo) contemporary violin 
maker, independent since 1930. 

Micheli Giuseppe, Gajato (Modena) 1884—1894. Little 
known, violin maker. 

Michelis Peregrino di Zanetto, Brescia. Born about 
1520, still alive in 1603. Son of Zanetto de Michelis. 
A very skilful instrument maker who built violas, 
lutes and 'celli. He had three sons: Giovanni, born 
1565; Battistino, born about 1571, and Franceschino, 
born June 18, 1579, who died June 8, 1615. The labels 
of Michelis Peregrino di Zanetto have very often 
been imitated and put into instruments of other 
makers (see Peregrino, Pelegrino, Zanetto). Price 
25.000 Kc. 

Peregrino Zanetto in Brescia 

Michelis Zanetto de, Brescia. Born about 1495 prob- 
ably at Montechiaro near Brescia. Lute and guitar 

Micle Gennaro, Naples. 1823. Guitar maker. 

Migliai Antonio, Florence. Works of the years 1682 — 
1703. Son of a Michelangelo Migliai. He was a good 
lute maker, built also cembalos and harps. 

Antonius de Migliais Florentinus Fecit anno 

Miglini Carlo, Turin, Via Cristina 7. Exhibited two 
violins at Cremona in 1937. 


Milandri Galiano, Macerone near Cesena, after 1930. 

Milani Francesco, Milan. 1742—1751. Pupil of Lo- 
renzo Guadagnini. Fine workmanship in the style 
of Stradivari, but unhandsome wood and broad 
irregular purfling. The few surviving instruments 
are, however, all of good tone. Price 16— 25.000 Kc. 

Milani Giuseppe Carlo, Milan. 1769. Good work after 
the fashion of Nic. Amati. 

Milella Giuseppe, Lecce. 1880. Son and successor of 
Vito Milella. Good instruments. 

Milella Vito, Lecce. 1870, 1880. Modern violin maker. 
Careful workmanship. 

Minelli Giovanni, Bologna. 1808, 1809. Modern violin 

Minelli Lorenzo, Florence. 1664. Son of a Francesco 
Minelli, good lute maker. 

Mingazzi Luigi, Ravenna, b. Oct. 3, 1859 in Ravenna, 
d. Jan. 23. 1933, made mostly mandolins, guitars, 
also contrabasses. 

Minotti .... in Carate Brianza near Milan, worked 
as a rule anonymously for others; otherwise he 
produced mostly guitars and mandolins. 

Minozzi Matteo, Bologna. 1767—1769. Skilled violin 
maker. Instruments of good tone. 

i Motteo MiMzzi *« 
'> t Bon 176a. 0* 

Antonius Molinarius 
fecit in Venezia Ao 1701. 


Moglie Alberto Fernando, Rome, b. Dec. 16, 1890 in 
Rome, good violin maker who learned his craft in 
the workshops of Antonio Sgarbi in Rome and 
Leandro Bisiach in Milan. He left Milan for the 
USA, where he was associated with the firm Wur- 
litzer. His instruments are characterized by a yellow, 
orange or golden-red varnish. 

. \lhrrlr iTrditmndc Moglie 
Frrit RoiUiT Anno 19 


Mola Francesco, Cremona. Born 1641. Pupil of Nic. 

Amati, in whose workshop he was employed as early 

as 1653. 
Molia Angelo, Genoa. Instruments are reported dated 

1758, 1760. Good work, small model, fine wood. 

Angelo Molia 
Fece in Geneva A. 1758. (written) 

MoZinarJ Antonio, Venice. 1672—1703, made mediocre 
instruments on a large model. Price 12.000 Kc. 


Mulinari Giuseppe, Venice. 1737—1763. Probably son 
of Antonio Molinari; good instruments. 

Monachini Francesco, Naples. 1725, mandolin, lute 
and guitar maker. 

Monfrini Luigi, Rome. 1810. 

Mongel A., Turin. 1820, 1830. Worked carefully in 
the style of some French school. 

Monopoli Vito . . . ., guitar maker; time unknown. 

Montade Gregorio, Cremona 1620. Most likely a dis- 
ciple or assistant of the brothers Antonius and 
Hieronymus Amati, though he may have been a 
pupil of Andrea Amati. The style and finish of 
a specimen which has recently attracted attention, 
is very much the same as the work of the brothers 
Amati; the transparent yellow-brown varnish is of ex- 
cellent quality, the belly of regular, close-grained 
pine-wood, the back in two pieces of faintly curled 
maplewood. The purfling is placed at 3.2 mm from 
the edge, is 1.5 mm broad, very carefully executed 
and reaches to the very ends of the corners, where 
the lines meet at a sharp angle, a proof of high 
skill. The long middle bouts make the instrument 
appear prolonged; the scroll is elegant, but not 
deeply cut. The back is somewhat more arched 
(16.8 mm) than the belly (15.5 mm). The instru- 
ment measures: belly 353 mm, upper width 162, 
middle 101.4, lower width 200, upper sides 29, at 
the lower end 29.7, length of sound-holes 71 mm, 
distance of their upper ends 39.7; the middle bouts 
are not regular (not made on a form); they measure 
left 87.1/83.4, right 85.3/83.8. The label reads "Gre- 
gorio Montade Cremonensis 1620". 

Evidently one of the "lost masters". In the 17th 
and 18th centuries there lived in Cremona five Mon- 
tades: Fernando, Giuseppe, Antonio, Giovanni and 
Gregorio II. Their mutual relations can no longer 
be ascertained, e. g., which of them was the father 
of Gregorio II. 

Gregorio Montade 
Cremonensis 1620. 

Montade Gregorio (II), Cremona. Born 1729, died 
1806. A great-grandson of Gregorio I. His instru- 
ments are as well finished as that of his ancestor, 
but the intervening time had brought the influence 


of Antonio Stradivari to the fore. He applied a 
golden-brown varnish of good quality. The con- 
jecture that he had been pupil of Omobono Stradi- 
vari, which we decline, (see Luigi Marconcini), 
merely reflects the manifest influence of Antonio 
Montagnana Domenico, Venice. 1690—1750. A very 
famous master; it is not known whose pupil he was, 
but it is ascertained that he used to work with Stradi- 
vari. Instruments by him, built in the style of the Cre- 
monese school, are of outstanding quality: fine 
wood, large, beautifully carved scrolls; graceful 
sound-holes, cut after the fashion of Joseph Guar- 
neri I. Best is his large model which follows the 
outlines of Stradivari, but is more massive. He 
applied a gorgeous golden-red varnish. Montagnana 
did not create many instruments, or, possibly, his 
creations bear nowadays still more renowned names. 
His works are known in two sizes, all of exquisite 
tone and excellent carrying power. Still more ad- 
mired are his 'cellos and contrabasses. Altogether 
first-class concert instruments. Price 160 — 300.000 
Kc; violins of large pattern have fetched as much as 
400.000 Kc. 

Dimensions of violins by Dam. Montagnana in mm: 

1734 1737 

Length of back 360 360 

Upper width 170 170 

Middle width 109 109 

Lower width 206.5 206.5 


"Vs"'-K ' Jt^.' 

g«»m Gremonar v«n8t^ if 39: 

Montana Gregorio, Cremona (1690— 1735) (?). Most 
likely a fraudulently invented name, but a number 
of fakers must have joined in, for the name appears 
often and labels are vague. 

Montanari Enrico, Modena, first decades of this cen- 
tury, is said to have worked well. 

Montanari Luigi, Milan, d. ca 1908, left a small number 
of violins and 'celli, reported to be in great esteem, 

Montani Costante, Milan, guitar maker. 

Montavoci Fernando, Airuno (Como), d. ca 1938, 

Montanari Bergamo. Although contemporary 

(until ca 1930), very little is reported about him. 

Montefiori Erminio, Genoa. 1860. 

Montechiaro Giovanni, see Montichiaro Zanetto. 

Montelatici Filippo, Florence, 1697. Built good lutes. 

Montenari, see Montanari. 

Monterumici Armando, Bologna. Born 1875, was a pu- 
pil of Raffaele Fiorini whose successor he became. 
Died before 1939. Good instruments, especially the 

Montevecchi Luigi, Cesena, b. 1868, d. after 1939, 
adopted various models of the old Italian masters. 

Montichiaro Zanetto, Brescia. Extant specimens bear 
dates ca 1530, 1533. Good workmanship. Particul- 
arly fine are his lutes and violas. 

Monturri Giuseppe, Piumazzo. 1840. 

Monzino Antonio (I), Milan 1725—1800, was chiefly 
mandolin and guitar maker. 

Antonio Monzino 

Fabricatore d'Istrumenti a corde Armonichi 

in Milano nella Contrada della Dogana N 4037 

all Insegna della Sirena. 

■ Antonio Monzino 

nella contrada del 
pannegiari in Milano 
fecit Anno . . . 

Monzino Antonio (II), son of Giacomo Antonio, 1799 
— 1872. Unimportant. At his time the workshop was 
being run by Gaetano Antoniazzi. 

Monzino Antonio (III), son of the former, 1847 — 
1930, was pupil of Gaetano Antoniazzi; it was mainly 
due to the latter that the family atelier became well 
known and won distinctions; this Monzino is said 
to have been a good maker himself. 

Monzino Antonio (IV), Milan 1885 — 1918, head of 
the firm (at his time called Monzino-Garlandini) 
was chiefly a dealer. 

Monzino Antonio (V), son of Antonio IV, b. in Milan 
June 17, 1909, trained abroad, conducted the firm 
and made good, but few, instruments himself. The 
house employed a number of outstanding workers 
whose instruments remain unfortunately anonymous. 

Monzino Giacomo Antonio, Milan, son of Antonio I, 
1772—1845, was chiefly a performing artist and 
pedagogue (also composer) who carried on his 
father's business, but did not distinguish himself as 

Antonio Monzino 

nella Contrada del pennachiari in Milano 

fecit Anno. 

Monzino & Figli, Milan. Musical instrument factory. 

A. Monzino 

Fabbricatore e negoziante 

d'istrumenti musicali a corde 


corde armoniche 

Via Rastrelli 10. 

Mora Giacomo, Bagolino, 1701. Mandolin maker. 


Giacomo Mora 1701 
in Bagolino. 

Morano Arnaldo, Turin (with a branch at Rosignano 
Piedmont), b. in Turin Jan. 8, 1911; won distinction 
at Cremona in 1937. 

Arnaldo Morano fece 
Rosignano anno 194 . 

Arnaldo Morano fece 
Torino — Anno 1942 

Morara Paolo, Budrio near Bologna, b. Dec. 17, 1889, 
was pupil of Giuseppe Fiorini in Rome and for 
some time his assistant. Exhibited one violin at Cre- 
mona in 1937. 


Paulus Morara fil. Stanislai 
Josephi Fiorini Discipulus 
fecit Butrium An. D. 1949 

Morella Morglato, Mantua, Venice. 1545—1602. Pupil 
of Dardelli; lived in Venice after 1550. Good 
workmanship, red-brown varnish; most likely he did 
not produce any violins. 

Morglato Morella 
Mantuae 1545. 

^Morglato li^oreUa 1; 
ij^e m Venecia i^( 

Moreno Arturo, Naples, mandolin maker. 

Moretti Alberto, Rome, mandolin maker, beginning of 

the 20th century. 
Moretti Antonio, Milan, ca 1730. Violin maker of no 

particular merit, who produced chiefly lutes and 

Moretti Carlo, Rome, b. in Ancona Aug. 11, 1891; 

profilic violin maker, golden-red varnish. 

Carolus Moretti Anconitanus 
Fecit Anconae — Anno Domini 


Moretti Egidio, Udine and Lavagna, b. March 9, 1894 
in Udine, followed Stradivari, Amati and Guarneri. 




anno 1924 

Moretti Egidio-Udinese 
fece in Lavagna anno 1949 

Mori Otello, Florence, b. Jan. 31, 1907, was a guitar 
virtuoso who also built these instruments (according 
to Spanish patterns). 

Morilli Mauro, Varese (Prov. Como), ViaWalderSG, 
Exhibited one violin at Cremona in 1937. 

Moro Bartolomeo, Padua. 1678. Lute maker. 

Moro Vito, Naples, since 1883 owner of a large atelier 
for the manufacture of stringed instruments; the 
products bear labels with the word estudiantina. 

Morselli Arturo, Quistello, 1862, built very good con- 

Morutto Carlo, Turin, 19th century. Guitar and man- 
dolin maker. 

Morutto Marcelo, Turin, first half of the 20th century, 
guitar and mandolin maker. 

Mosca-Cavelli C, Rome, Padua, 1726. Lute maker. 

Mosca-Cavelli Martino, Rome. 1608. Lute maker. 

Martino Mosca 

Caveli fece ao 1608 

a revisto 


Mozzani Luigi, Bologna and Roveretto, b. March 9, 
1869, d. Aug. 12, 1943, specialized in guitars. 

Mucchi Antonio, surnamed "Bastia", Modena. 1800, 
died Apr. 13, 1883. Pupil of Aug. Soliani of Modena. 
Good workmanship, particularly his 'celli are valued. 
He applied yellow oil varnish of good quality. Re- 
paired instruments with much skill. 

Antonius Mucchi 
fecit Mutinae 1881. 

Muncher Romedio, Cremona, native of Cremona, b. 
July 21, 1874, d. Jan. 9, 1940. Imitator of the Italian 
classics; his own models have yellow or yellow-red 

eiuoiiA fece aamo T). 



Muratori Rocco, Padua. Ca 1704. Good and original 

Rochus Muratoribus 

Patavinus Delectans 

Opus. 1704 

Muschietti Renzo, Udine, son and succesor of Um- 

berto M. 
Muschietti Umberto, Udine, b. 1875, exhibited one 

violin at Cremona in 1937. 
Mussolessi Giuseppe, Milan, worked previous to 1940; 

his later fate is unknown. 
Mutti Vittorio, Mantua, b. May 30, 1903; violins of 

large pattern and red varnish. 
Muzzio Francesco di, Chieti, 1830, 1838. Violins of 
good tone. 

M. Francesco di Muzio 
ha fatto questo violino 
nell anno 1836 in Chieti. (written) 

Muzzarelli Demetrio, Modena, ca 1880, unimportant. 



Nadotti Joseph, Piacenza. Worked in the years 1757 — 
1789. Built moderately arched instruments in the 
style of Amati. He had worked with T. Balestrieri, 
perhaps also with J. B. Guadagnini and his work 
shows the influence of both masters. Sound-holes cut 
in the manner of Guarneri del Gesu but narrow. 
He applied good yellow or, more frequently, golden- 
yellow varnish. All instruments by him have a good 
tone. Price 25-40.000 Kc. 





Nafissi Carlo, Gubbio. 1867. 

Naldi Antonio, surnamed "II Bardella", Florence. 
1550. He was a lutanist and lute maker. 

Nardelli Michelangelo, Gubio, ca 1850, probably a pu- 
pil of Carlo Nafissi. 

Nastesi Valento, Gubio. Contemporary. 

Nella Raffaele della, Brescia. 1659, 1672. Good and 
conscientious work in the style of G. P. Maggini. 
Instruments by him are of good wood; rather thick 
belly and back; the belly is of wood with regular 
grain, the back made of one piece of beautiful 
maple wood; the wood of the sides possesses won- 
derful curl; the arching and the gracefully cut 
sound-holes are executed in the style of the Amati 
brothers. The purfling he made, for the most part, 
twofold after the fashion of Maggini. Yellow-brown 
varnish. Price quoted 20.000 Kc and more. 

Nella Raphael 
Brescia A. 167. 

Nelli Nicola, surnamed "Tolla", Said. Born at Said in 
1861. A cabinet maker who also made violins. 

Tolla Nicola 


Fabbricatore Strumentl 

e Riparatore a Corda . . 

Premiato con j 

Medaglia d'oro. 

Nigetti Francesco, called Cestinetti, Florence, 1645 — 
1682, organist of the Cathedral in Florence, built 
some violins and invented a new kind of theorbo. 

Nobili Antonio Francesco, Florence. Ca 1693. Lute 

TT1?1 KP V 

Francesco Nobili in Roma fecit 1693. 

Nojia Francesco della, Rome. 1610, 1612. Lute maker. 

Nonini Giuseppe, Udine, b. Dec. 16, 1897, an amateur 

who followed Stradivari and applied a golden-yellow 

varnish. „ . 


Udine 949 Nonini 

Norfi Floriano, Macerata, b. Dec. 16, 1922 at S. Gine- 
sio near Macerata. Standard patterns, golden-yellow 
oil varnish. 

Novelli Natale, Milan, b. March 9, 1908. Nephew and 
pupil of Giuseppe Pedrazzi. Stradivari and Guarneri 
patterns, golden-yellow or red varnish. 




Novello Marco, Venice. 1720. Violin maker. His two 
sons followed his profession. 

Marcus Novello fecit 
Venetia 1720. 

Novello Marco Antonio, Venice. 1780—1795. Son of 
Marco Novello, brother of Pietro Valentino Novello, 
in whose company he worked. Good representative 
of the Venetian school. Price 25.000 Kc and more. 

Novello Pietro Valentino, Venice. 1790—1800. Brother 
of Marco Antonio. Pupil of Anselmo Bellosi. Good 
master of the Venetian school. 

Noverci Cosimo, Florence. 1662. Lute and violin 


Obbo Marco, Naples. 1712 — 1727. His instruments 
and varnish show streaks, as if they were soiled. 
Otherwise, however, he worked well on the pattern 
of Stradivari, using fine wood and applying a trans- 
parent orange-yellow varnish. Violins have a tone of 
good carrying power. Price 15.000 Kc. 

Marcus Obbo 
Napoli 1712. 


Obbo Marco, Naples 1803. He devoted himself to the 
making of guitars and mandolins. It id not known 
whether he was a son or a grandson of Marco Obbo. 

Marcus Obbo fecit 

Strada S. Ferdinando n. 56 

Neap. Anno 1803. 

Obici Bartolomeo I., Verona. 1665 — 1685. Instruments 
by him are built on the patterns of various Brescian 


masters, in most instances after the fashion of Giov. 
Paolo Maggini. He worked on a large model, without 
particular care. The wood is not always good. Yellow 
or red varnish of brilliant lustre, applied in thick 
coats. Valuable instruments, much in demand for the 
quality of their tone. Price 40.000 Kc; a violin sold 
in 1933 fetched as much as 80.000 Kc. 

Bortolomio Obici [sic] 
in Verona 1681 

Obici Bartolomeo II, Verona. 1750, 1755. Son of Bar- 
tolomeo I, perhaps his pupil, judging from his work. 
He worked on the patterns of Bartol. Obici and 
Maggini. His violins, of slender shape, are coated 
with a dark yellow-brown varnish. He bestowed care- 
ful attention on the wood. Instruments of very good 
tone. Price 20-25.000 Kc (quoted). 

Obici Prospero, Marano sul Parano (Modena). 1880. 
Good modern instruments. 

Obizzi, Tommaso Marchese, degli O. Padua. 1769, 
A nobleman, collector and amateur violin maker who 
also himself repaired his instruments. 

Tommaso Degli Obizzi ristaurai adi 3. Giugno 1769 
in Padova. 

Odani Giuseppe Morello, Naples. Ca 1738. Good work- 
manship. He used red-brown varnish which in some 
instances looks nowadays blackened. 
Price 15.000 Kc. 

Giuseppe Morello Qdanl 
in Napoli 1738. 

Oddone Carlo Giuseppe, Turin. Born 1866 in Turin. 
Pupil of Coffredo Rinaldi, in whose workshop he 
stayed in the years 1889—1899; for two years he 
was employed with F. W. Chanot; in 1901 he was 
in England. After returning home from England 
he established a workshop in Turin. Imitations of 
Stradivari, Guarneri, and later also G. Rocca. He 
used a fat varnish, mostly of dark-red colour. One of 
the best Italian masters of his time. 

Odoardi Antonio, called "II Lanaro", Ascoli. 19th cen- 
tury. Violin maker of mediocre skill. 

Odoardi Giuseppe, called "II Villano", Ascoli. Born 
Apr. 6, 1746 at Poggio di Bretta, died about 1785. 
He worked on the flat model of Stradivari as well 
as after the higher pattern of Stainer. Instruments 
without finish, the purfling irregular, the black strips 
thicker than the light ones or vice versa. The small 
sound-holes are neatly cut. Yellow-brown, dark- 
brown, or, most often, red-brown varnish applied in 
thin coats. He also used platan-wood. Instruments 
by him have, however, a good tone. Price 25.000 Kc. 

Joseph Odoardi fecit in Piceno 

prope Asculum In. 1785 

De ligno Platano. 

Joseph Odoardi, filius Antonii 

fecit prope Asculum 1781. Opus 

No 119. 

Joseph Odoardi 

h Odoardi 

Oglio Domenico dall', see DalF Oglio. 
Oliveri Felice, Turin. 1870-1904. 
Oliveri Francesco, Rome 

>^, .♦. .'™.>, .Ca a .». .". A ,'. •*. .'. .'. .' 


t hWm di iaoiliiii e [liilarre «! 


I FfiiCESCO oiiiei i 


I i8!ii3 ■ Via imm im. 38 

Olmi Alberto, Siena. 19th century. 
Oneda Gio. Battista d', Brescia, see Doneda G. B. 
Ongaro Ignazio dall' see Dall'Ongaro Ignazio, Venice. 
Orazio Giovanni Filippo, Rome, ancient lute maker 

Orelli Joseph, Rome, ca 1792, often mistaken for Or- 

selli, was a skilful master who used handsome wood 

and a good oil varnish. 
Orlandelli Paolo, Codogno. 18th century. Violin maker 

of medium skill. 
Orlandi Ernesto, Cremona, b. Oct. 3, 1929, a cabinet 

maker who made various instruments besides. 



Allievo della Scuola Internazionale di Liuteria 

di Cremona 

Fece anno 1949 

Orlandi Orlando, Ascoli Piceno, b. Nov. 11, 1875, 
violin maker, also manufacturer of mandolins and 


Orlando Orlandi 

Fabbricante di mandolini e chitarre 

anno 1908 Ascoli Piceno. 

Orlandini Archimede, S. Leonardo (Parma), b. Aug. 1, 
1909, exhibited a violin at Cremona in 1937. 

Ornati Giuseppe, Milan, Via Francesco Sforza 44. 
Exhibited a violin, a viola and a 'cello at Cremona 
in 1937. 

G.o. Oiuse{»|)e Ornati 

M- Vlfecfi^in Mllano Anno l^lj J 



Giuseppe Oniati 

fccc iijiMilono anno i^JG 

--.«jv * 

Orselli Giuseppe, Rome ca 1792, often mixed up with 
Orelli. Good workmanship, good tone. 

Joseph Orselli Romanus, Fecit Romae Anno 1792. 

Joseph Orselli Romanus 
Fecit Romae Anno 1792 

Orsini Ercole, Teramo, 1951. Exhibited a violin and 

a 'cello at Cremona in 1937. 
Orzelli Giuseppe, Rome, pupil and successor of Cres- 

cenzio Ugar, ca 1800. Various instruments, good 

Orzero Tommaso, Turin, 19th century. 

Pacherle Pierre, Paris, Nizza, Genoa, Turin. Born 1803, 
died Dec. 31, 1871. Fellow-pupil of J. B. Vuillaume 
with whose father Claude Francois Vuillaume he 
worked on the pattern of Stradivari. Applied opaque 
varnish. Repaired instruments with great skill. 

Pafuni Francesco, Forli ca 1756, specialized on repairs; 
there are but few instruments of his own making. 

Restaurato da me Francesco Pafuni 
in Forli anno 1756. 

Pagani Gian Battista, Cremona 1735, 1743. Price ca 
15.000 Kc. 

Pagani Pietro, San Martino d'Este. Ca 1836. A dilet 
tante, but good violins. 

Paganini Alba, daughter of Giuseppe, Forli, 20th cent- 
ury, worked with her brother Mario. They copied 
old masters. 

Paganini Giuseppe, Florence, Jan. 6, 1870 — June 20, 
1913. Son of Luigi Paganini and perhaps his pupil. 
Exemplary workmanship, flat archings, brown var- 
nish. His daughter, who learned the craft in her 
fathers's workshop, remained as violin maker at 

Giuseppe Secondo Paganini de Forli Fece Firenze 1909 

Paganini Luigi, Faenza, Forli. Born 1838 at Faenza, 
died 1914 at Forli. A maker who produced only, 
cheap exercise-violins for pupils. 

Paganini Mario, Forli, b. 1896, son and pupil of Giu- 
seppe P. See Alba Paganini. Died early. 

Paganini Nicolo, Florence. Born Feb. 18, 1784 in Ge- 
noa, died May 27, 1840 in Nizza. Built instruments 
of large pattern and applied brown varnish. 

Paganoni Antonio, Venice, ca 1750. Only his name is 

Palazzoli Giovanni Battista, Verona. 1605. He built 
fairly good violins which he provided with double 
purfling, as he worked mostly in the style of Mag- 
gini. Instruments by him are now mostly of historic 

Palla Vincenzo, Perugia. 1790. Violin maker who built 

also harps. The few stringed instruments by him 

which are known constitute probably the remainder 

of his works not rechristened after more famous 


Palla Vincenzo 

fece in Perugia 1790. 

Palladini Giovanni, .... 19th century. Violin and man- 
dolin maker of little consequence. 

Palma Orazio, Rome, b. Oct. 30, 1870, d. 1922, mostly 
mandolin and guitar maker. Used pink paper for his 

Palma Paolo, Lucca, second half of the 18th century, 
copied N. Amati without much success. Also a 17th 
century Palma is mentioned, but nothing is known 
about him. Perhaps an ancestor of Paolo. 

Paulus Palma Lucencis fecit in Luca 17 . . 

Paulus Palma Lucensis 
Fecit in Lucca 17. 

Palmerio Matteo. Padua. 1759. Some time ago a violin 
of 1759 emerged at The Hague. Otherwise unknown. 

Pallota Pietro, Perugia. 1788-1831. Buih large flat 
violas and 'celli. His violins have a somewhat higher 
arching than the violas. Perfunctory workman- 
ship; short, rather wide, uneven sound-holes; large 


unhandsomely carved scrolls. These shortcomings, 
however, do not impair the good tone of his instru- 

Pietro Pallota 

fece L'anno 1792 

Nr. 13 Perugia. 



•J-Sr^WT: -littlPntW 

xiaJjQO^ Cm 

Palumbi Bernardino, Pescara, b. Nov. 9, 1921 in Avez- 
zano. His work is reported to be good. 

Pandolfi Antonio, Venice. 1710—1740. An assiduous 
and skilful master. Violins by him are of large pat- 
tern, carefully finished with delicate taste; the well 
designed and neatly cut sound-holes are in a slanting 
position. He applied yellow-brown or deep-red var- 
nish. The back is usually of one piece. The tone of his 
instruments is excellent. Price 20.000 Kc and more. 

Anlonius Pandolfi 
Verietiis fecit Anno j^^ 

Panizzi Giovanii Battista, San Remo. Born Nov. 24, 
1890; yellow-brown or yellow varnish. 

Panormo Vincenzo Trusiano, Palermo, Paris, London. 
Born 1734 at Monreale near Palermo, died 1813 in 
London. He had two sons: Joseph, born about 1773, 
who died in 1825, and George Louis, born about 
1775, who died about 1842. As boy he may have been 
a pupil of Carlo Bergonzi. In 1760 he worked in 
Paris and after 1772 in London. His life was a conti- 
nuous travelling. Panormo is said to have bought, 
on one of his journeys, an old maple-wood board of 

a billiard-table of which he made the backs of a num- 
ber of violins. As it is with other masters, whose 
works have been thoroughly studied (particularly 
those of Stradivari and Guarneri del Gesii) it is 
posible to determine the genuineness of these instru- 
ments from the identity of the material. Some look 
exactly alike. Panormo worked conscientiously on 
the patterns of Stradivari and Bergonzi. Fine wood, 
tastefully cut sound-holes and scrolls. He applied a 
wonderful orange-yellow or red-brown varnish. All 
genuine works are of excellent tone, but not all of 
the many instruments bearing his labels are genuine. 
We suppose that he either had several collaborators 
or some less skilled masters provided their instru- 
ments with his labels. The difference is obvious from 
the workmanship, material and tone; the prices vary 
accordingly, from 20.000 to 320.000 Kc (and even 
more). See also Trusiano. 

Vincenzo Panormo 

di Palermo fecit 

anno 17 . . 

Vincent Panormo, ru* de I'Arbre-Set' 
Si Paris, 11 aJi /jt/c 


Panza Antonio, Finale Emilia. 1875. A dilettante. Many 
violins by him are of good wood and of fairly good 

Panzani Antonio, Rome. 1735 — 1785. Instruments of 
medium quality. He also worked in Venice. Price 
8.000 Kc. 

Paoletti, Vezio Silvio, Florence, b. 1883, used a brown- 
ish-yellow or yellow varnish on his own instruments, 
but occupied himself mostly with repairs. 

Silvio Vezio Paole'cti 
fece in Firenze A 1923 

Paoli Luigi, Naples and Trieste, b. Dec. 11, 1903, violin 

Paolini Luigi, Todi, Rimini. Born Oct. 29, 1875, d. Aug. 

13, 1942. Worked on the models of Amati, Pressenda 

and Rocca. Sometimes imitations; his individual 

creations have a golden-yellow or brown-red spirit 

varnish. „ ,, . ^ . . , ■ ^ j- 

Paolmi Luigi fece m Todi. 

Paolini Luigi Fece in Rimini. 

Paralupi Rodolfo, Rome, b. Jan. 29, 1890, merchant, 

then violin dealer, at last maker of guitars, violins 


Rodolfo Paralupi 

Fece in Roma Anno 1919 

Pardini Bastiano, Florence. 17th century. Worked on 
the model of Gasparo da Said; his workmanship is 
not satisfactory. Instruments chiefly of historic 


Bastiano Pardini 
in Florenza. 

Parcschl Gaetano, Ferrara, b. Feb. 7, 1900, worked on 
the pattern of Stradivari. Golden-yellow or chestnut- 
brown varnish. 

Gaetano Pareschi 

fece in FERRARA 
I'anno 1947 

Parmeggiani Romolo, Modena, Via Canalino 1/3. B. 
1888, exhibited two violins at Cremona 1937. 

Romolo Parmeggiani fece in Modena 

Parravicini Pietro, Bovisio (Milan), b. 1889, pupil of 
Romeo Antoniazzi, followed Stradivari, Guarneri 
and Guadagnini with application and success. 

fece in Bovisio (Milano) I'anno 1947 

Pasciutti Ferdinando, Bologna. Born 1850 at Bazzano, 
died after 1885. He was more of an instrument 
maker in a general sense than a specialist. 

Pascuali Giacomo, Ancarano near Ascoli. 18th century. 
Violin and guitar maker of minor importance. 

Pasio Ildebrando, Faenza. 18th century. A little known 
violin maker. Perhaps he devoted more of his time 
to repairs than to the making of new instruments. 

Ildebrandus Pasius Restauravit 

Pasio Lodovico, Modena. 1506. Little known ancient 
lute maker. 

Passaponti Giovanni, Florence. 1750. Highly skilled 
violin and lute maker who inlaid his violins with 
complicated purflings. Nothing but this delicately 
finished purfling is remarkable about his instruments. 

Pasta Antonio, Brescia. 1710—1730. Good are his 
imitations of the models of Gasparo da Said and 
Maggini. Instruments of full, yet not too high, arch- 
ing. The wood is of good quality. He applied, in very 
thin coats, a good red-brown varnish. The tone of 
his instruments is very good. Price 20—50.000 Kc. 

Pasta Bartolcmeo, Milan, 1681. Pupil of Nic. Amati. 
Worked well on the model of his master and applied 
a chestnut-coloured varnish. 

Bartolomeo Pasta, Alievo di Nicole 
Amati Cremonese, Fece in Mile. 1681 

Pasta Domenico, Brescia. 1710—1785. Worked on the 
grand pattern of Nic. Amati and Maggini. His work- 
manship resembles that of Hieronymus Amati and 
it is quite possible that he was the latter's pupil. He 
took lower arching than Amati and Maggini. Care- 
ful workmanship, instruments of fine tone. Price 
25.000 Kc, rising. 

Pasta Domenico Bresciano fece anno 1785 

Pasta Gaetano, Brescia. 1710—1760. Pupil of Hiero- 
nymus Amati. Worked in the style of the Cremonese 
school, sometimes on the pattern of Gasparo da 
Said but his flat instruments are worked on the pat- 
tern of G. B. Rogeri. Excellent are his 'cellos; their 
scroll is replaced by a lion's head. Both varnish and 
tone are good. Price 25.000 and more. 

Gaetano Pasta Milanese allievo 
dell Amati di Cremona alia 
Pallada in Brescia. A. 1750 

Pazarini Antonio, Genoa. 1720 — 1744. Large pattern, 
full and high-arched in the style of the Brescian 
school. He worked in company with Bernando Cal- 
cagni. The brown-red oil varnish as well as the tone 
are of good quality. Price 20 — 40.000 Kc. 

Antonius Pazarinius et Calcanius 
Genuae 1740. 

Pazzagola Francesco, Ferrara. 1577. A lutanist who 
also made lutes. 

Pazzagola Giovanni, Ferrara. 1580. Little known lute 
maker. Valdrighi calls him "Pazzavola" (misread- 

Pazzini Giovanni Gaetano, Brescia. Florence. 1630 — 
1666. He was a pupil of Maggini, but went his own 
way and did not imitate the latter's works. He used 
always fine wood, made instruments with high arch- 
ing on the Amati pattern, and applied dark-brown 
varnish. The tone of his instruments is good. Price 
15-20.000 Kc. 

Gian Gaetano Pazzini 

allievo dell'Maggini di Brixlae. 

Fecit Firenze, Anno 16 . . 

Giovanni Gaettano Pazzini 
Florentinus Anno 16. 

Gian Gaettano Pazzini, 

allievo dell Maggini di Brixae 

fecit anno 16. 

Giijvan f;ai:U,.iii> I'j/rini. alli. 'Jj- 
M>ij;^Ku ill Ci-iMT 
K-.i! Ku.iu.; . iv- . \G('0 

Peccati Umberto, Soncino (Cremona) and Milan. 
Born Oct. 22, 1878, d. Oct. 17, 1944, made mostly 
guitars, mandolins and also contrabasses. 

De Peccati Umberto 

Faceva in Soncino (Cremona) 

Anno Domini 19. 

Peccenini Alessandro called "del Leuto" (i. e. liuto), 
Bologna, 1581 — 1595. Lute maker of the duke of 
Ferrara. Lutes by him were highly valued. 

Pecchini Vasco, Suzzara (Mantua), Via Cesare Bat- 


tisti 15. Born May 4, 1893. Exhibited a violin at Cre- 
mona in 1937. There exist but few specimens; they 
are, however, of good quaHty. 

"Viva fui in sylvis-mortua dulce cano" 


SUZZARA (Mantova) ANNO 19 . . 

Premiato con medaglia d Oro 


fece in SUZZARA (Mantova) 


P. V. S. 

Pedrazzi Fra Pietro, Bologna. 1784. Friar of the 
Dominican order who made some violins. 

Pedrazzini Giuseppe, Milan, Via Felice Cavalloti 11. 
Born Jan. 13, 1879, originally a joiner who gradually 
made himself a name as violin maker. He exhibited 
two violins, a viola and a 'cello at Cremona in 1937. 

Giuseppe Pedrazzini Cremonese 
fece in Milano 19 . . 

Giuseppe Pedrazzini 


fece in Milano TAnno 1914 

Pedrinelli Antonio, Crespano. Born July 21, 1781, 
died June 1, 1854 at Crespano. He was a cabinet 
maker, but after a careful study of instruments and 
numerous experiments he worked his way up to 
delicately finished copies of the works of Amati, 
Stradivari and Guarneri. His copies were unfor- 
tunately sometimes sold as genuine works of those 
masters. He also imitated Maggini, but did not 
succeed in copying violins with double purfling and 
ornaments on the back. Fine wood; the backs are 
sometimes even of beech-wood (reportedly taken 
from old oars); he applied orange-red or golden 
yellow varnish of good quality. In the corner of his 
labels he wrote the price of the instrument. Price 
15 — 25.000 Kc. for lesser specimens still bearing 

his name. . .„,.,,. 

Antonio Pedrmelli 

ad imitationem Stradivari! 

fecit in Crespano Anno 1840. No. 38. 

No. 43 Antonio Pedrinelli 
fe in Crespano 1844. 

Pedroni A., Rome, b. 1867, little known violin maker. 

Pellacani Giuseppe, Gaggio di Piano (Modena), b. Aug. 
23, 1900, worked, preferably on the Guarneri del 
Gesu pattern, for export to France and the USA. 

Pellacani Giuseppe da 

MedoUa fece anno 1942 

copia A. Straduari 

Giuseppe Pellacani 

da MEDOLLA (Modena) 

fece anno 19 . . 


Pellccchio Francesco, Naples ca 189(J, mandolin and 

guitar maker. 
Pellegri, Parma, 19lh century. Good violin and bow 

maker. It has not been possible, so far, to ascertain 

his Christian name. 
Pellegrino Zanetto, see Zanetto Peregrino. 
Pellegrino Michele Francesco, Brescia, b. Aug. 18, 

1579, d. 1615; of his works very little is known, all 

Pellegrino Micheli Zuan (di), Brescia, b. at the same 

place 1555, d. after 1607 (1615?) lute maker. Only 

a few examples of his work are preserved, no violins. 
Pellicciari Roberto, San Cesarino near Parano, 19th 

century. Violin maker of medium skill. 
Pellizon Antonio (I) Gorizia 1759—1850, follower of 

Stradivari and Amati, applied a golden-yellow, or 

orange varnish. 

Antonio Pelizon 

fece Gorizia 1825 

Pellizon Antonio (II), Gorizia 1815—1869, son and 

pupil of Antonio Pellizon I. 
Pellizon Carlo, Gorizia 1811 — 1891, son and pupil of 

Pellizon Antonio 1. 
Pellizon Filippo, Gorizia 1817—1897, son and pupil 

of Antonio I. 
Pellizon Giuseppe, Gorizia, son of Antonio I. devoted 

himself mostly to repairs; d. Dec. 15, 1874. 
Penscher Maria, Cremona 1686. Instruments marked 

with this name are, as far as we know, products of 

the poorest class. 
Penzenetti Antonio, Bologna. 1801. Violins of large 

pattern and good wood. 
Pera Gerolamo, Pordenone (province Udine). 1846 — 

1847. Good workmanship; particularly excellent are 

the 'celli, built on the model of Gasparo da Said. 

The sizes of one 'cello of his making are as follows; 

length 720 mm, upper width 325 mm, middle width 

240 mm, lower width 410 mm, height of sides 

105 mm. Height, measured under the bridge (belly, 

back and sides) 168 mm. He applied a yellow 

varnish without lustre. 

Hieronymus Pera Portusnaonensis 
Fecit anno 1846. 

Peregrinio Giovanni, Lucca. 1689. His existence has 
not been proved. Perhaps a fake. 

loannes Peregrinius 
Lucensis 1689 

Peregrino, see Pellegrino. 

Perni Pietro, Rome. 19th century. 

Pietro Perni 

Fabbricante d'Istrumenti Armonici 

fece in Roma anno 189 . 


Perollo Luigi, Palermo 1894. Lute maker and organ 

Perugia Ferdinando del, San Cresci, Florence. Born 
Nov. 16. 1857 at Petriolo near Bruzzi (Florence), 
made good guitars and mandolins. After 1899 he 
worked almost exclusively for dealers. 

Pessetti Giovanni Battista, Mantua 1674. Little known 
violin maker. 

Petrobono Dal Chitarino, Ferrara. 1445—1446. Lute 
maker; several instruments by him survive as mu- 
seum relics. 

Petroni Antonio, Rome, see Fedroni. 

Pettinato Pietro, Messina (Sicily), b. in Messina Nov. 
8, 1883, worked on the pattern of Stradivari. 

Pietro Pettinato 
Messinese — 17-11-1949 

Pevere Ernesto, Ferrara, b. 1891, followed Stradivari 
and Guarneri and used a golden-yellow or golden 
brown varnish. 



Anno 192 . FERRARA 

Ernesto Pevere 

allievo di 


fecit in Ferrara I'anno 19 . . 



Anno 192 . FERRARA 

Pezzardi, Brescia. 1660—1690. Worked in the style 

of Pietro S. Maggini, but his elegant sound-holes are 

designed after the fashion of Amati; he applied 

a bright yellow varnish. His violins are adorned with 

a carefully finished twofold purfling, interlaced on 

the back with exquisite taste. 
Pfanzelt Johann, Rome who died there Oct. 4, 1611, 

was a relative, perhaps a brother of Martin and 

Peter II. Little known. 
Pfanzelt (Pfanschel) Martin, called II Martino, Rome, 

b. 1597, perhaps a brother of Peter Pfanschel, lute 

Pfanschel, also Pfanzelt Peter (I), Rome, died 1582, 

lute maker, little known, most likely a native of 

Pfanzelt Peter (II), b. March 3, 1598, d. after 1637, 

was apprenticed as lute maker by his father Martin. 
Philippi P. de, Rome. 1885. Good workmanship in 

the style of the Cremonese school. 
Pianazzi Domenico, Guiglia (Modena). 1760—1780. 

He worked very well, but instruments still marked 

with his name are rare. He took the Cremonese 

masters for his model. 
Piarino Marco, Ferrara. 1591. Little known lute maker. 

Piatellini Alvisio, Florence ca 1790, was son of Luigi 
Piatellini and pupil of G. B. Gabrielli. Scanty evi- 
dence of his work has been adduced so far. He is said 
to have used a brown varnish. 

Piattellini Gasparo, Florence. 1738 — 1780. Instru- 
ments of flat arching, good workmanship, coated 
with light-brown varnish. Excellent 'cellos. Price 
from 12.000 Kc. upwards. 

Gasparo Piattellini Fece 
In Firenze Anno Domini 1738. 

Gasparo Piattelini 
fece I'Anno 1780 

in Firenze. (written) 



fece I'Anno 1763. 

Piattellini Luigi, Florence. 1789—1821. Son and pupil 
of Gasparo Piattellini. Best are his 'cellos, which have 
a very good tone. 

Piccagliani Armando, Modena, 1879—1945, exhibited 
a violin (Stradivari pattern), a viola and a 'cello at 
Cremona in 1937. 

Piccagliani Armando 

fece in Modena 

I'Anno 1931 

Piccagliani Antonio, Modena, b. July 29, 1914, fol- 
lowed Guarneri del Gesii. Probably son and pupil 
of Armando P. 

Antonio Piccagliani fu Armando 

fece in Modena 
I'Anno 19 . . 

Picciati Ippolito, S. Giovanni in Persiceto. 1850 — 
1856. Built violins and contrabasses. 

Picinetti Giovanni, Florence. 1677 — 1682, made lutes 
and violas and was a skilful master; applied red- 
yellow varnish. 

Gio Picinetti fio 

ao 1682. (written) 

Picino Carlo, Padua. 1726. Little known. 

Picino Giuseppe. Naples, a 19th century manufacturer 
of guitars and mandolins. 

Pieroni Luigi, Gubbio. 1833—1847. He devoted him- 
self more to repairs than to the production of new 

Pierotti Luigi, Perugia. 1787—1833, was perhaps an 
amateur; indifferent workmanship. 

Luigi Pierotti 
Fecit in Gubio 1791. 

Aloysius Pierotti fecit ano 1787. 

Luigi Pierotti fecit in Gubio 1833. 

Pietri Pietro, Venice. 1690. Little known violin and 
lute maker. 


Pilotti Giuseppe, Bologna. Born 1784, died 1838. 

Master, whose works are seldom found. 
Pioli Roberto, Cavriago (Reggio Emilia), h. at the 

same place Aug. 11, 1892 was popular for his 




Piotti, Montebello. Montebello, 19th century violin 

Piretti Enrico, Bologna, b. Nov. 19, 1911, a pro- 
ductive maker who considered, however, violin 
making as a side line; he made mostly mandolins. 
Varnish orange or mahogany. 

Enrico Piretti 



Plani Agostino de, Genoa. 1750—1778. Bad work- 
manship; unseemly varnish of a brownish hue; tone 
without power. Price 8—12.000 Kc. 

Pisani, San Angelo. 1756. Violins with high arching, 

built of fine wood and coated with a yellow-red 

varnish; scarce. 
Pistucci Giovanni, Naples, b. Feb. 18, 1864 in Naples, 

was a pupil of Vincenzo Postiglione; good work in 

the style of old Italian masters. 

Napoli 1901 

Giovanni PISTUCCI 

alunno di Vincenzo Postiglione 

f ece in NAPOLI anno 19 . . 



Anno 19 . . 

Piva Giovanni, Modena. 1860—1880. A dilettante, 
who made many violins, but all of inferior quality. 

Pizzamiglio Carlo, Sesto ed Unite (Cremona), b. 1914, 
said to have been, due to unfavourable circumstances, 
an indifferent maker. Yellow-red spirit varnish. 




Pizzurno Antonio, Genoa. 1760. Violin maker of no 
particular skill. 

Pizzurno Davide, Genoa. 1760, 1763. Probably father 
and teacher of Antonio. He built, very skilfully, 
instruments of smaller pattern on the outlines of 
Amati's model. Narrow edges; delicately finished 
purfling; small sound-holes in the fashion of Stainer. 
The large, broad, well-finished scrolls, shaped in the 
style of Gragnani, are rather deeply cut in a pe- 
culiar manner, with protruding ends. He applied a 
golden-brown varnish. Price 20 — 25.000 Kc. 

David Pizzurnus fecit 
Genue Ann. 1763 

Planta Ulrico, Florence. 1838. Work lacking the 
assured touch of a master. 

Plainer Michael, Rome. 1735—1750. Buih, on the 
patterns of Andrea Guarneri and David Tecchler, 
instruments of fine wood, with high arching, coated 
with a golden yellow varnish. The sound-holes and 
scrolls are delicately carved. Price 25—32.000 Kc, 
'cellos far more. 

Michael Platner fecit 
Romae Anno 1741 

Plesber Francesco, see Presbler Francesco. 

Plesber Giuseppe, see Presbler Giuseppe. 

Poggi Ansaldo, Bologna, b. 1893, perhaps a pupil 
of Guiseppe Fiorini. Stradivari patterns, yellow - 
brown, yellow-red or golden-brown varnish. Ex- 
hibited at Cremona in 1937 besides an entire 
quartet, a violin, one viola and one 'cello. 



: Ait.i6vp ot a. fionm 



Poggini Milton, Anghiari and Arezzo, a sculptor, 
made violins of his own model with a peculiar scroll. 
They are cherished abroad. Varnish of various shades 
of yellow, orange, red and brown. Marked his instru- 
ments also with his initials branded inside. Exhibited 
a violin and a viola at Cremona in 1937. 

A. 1946 

Liut. Milton Poggini 

Arrezzo Anghiari 

Poll Giandomenico, Ascoh, 16th century. Very little 

is known about him. 
Poli Giovanni, Milan. 1850—1882. Little known vioHn 

Polls Luca, Cremona. 1751. Good workmanship on the 

model of N. Amati. He applied lustrous and brightly 

coloured varnishes. 
Politi Enrico, Rome, via Vittorio, b. in Rome June 13, 

1885, son and pupil of Eugenia Politi, proHfic 


master, who won high honours at Cremona in 1949; 
for a time he worked together with Giuseppe Flo- 
rini. Guarneri model preferred. 



Politi Eugenio, Cremona and Rome. Born May 8, 
1853, he died June 9, 1909. He was a disciple of 
Enrico Cerutti, so good that merchants have pro- 
vided most of his instruments with faked Cerutti 

Fecit Cremona anno 1886 

Politi Fernando, Rome and Turin, 1882 — 1928, son 
of Eugenio Politi; used a red or orange varnish. 

Politi Raoul, Rome b. May 9, 1913, son and pupil of 
Enrico. Successful even in other countries. 


Figlio di Enrico 

Fece Roma — anno 19 . . 

Pollastri Antonio, Modena 1765 — 1800, probably a 
brother of Giuseppe Pollastri. Good workmanship. 

Antonio Pollastri 
fecit Mutinae 1765. 

Pollastri Augusto, Bologna. 1900, 1910. Highly skilled 
pupil of Raffaele Fiorini. Worked on the model of 
Stradivari and applied red varnish. 

Pollastri Gaetano, Bologna, b. 1886, brother and pupil 
of Augusto Pollastri. 


: Irniflh) id iillivvo di Auirnsiu i 


Pollastri Giuseppe, Modena. 1764—1873. His violas 
and guitars have a rich tone. 

Polli Francesco, Guastalla. 1616. Little known master. 

Pollusca (Paluska) Antonio, Rome. 1750. To judge by 
his name as well as according to his work, which 
is characteristic of the Prague school (by the typi- 
cally jutting-out corner-edges) he was a Czech. By 
his good workmanship he belongs to the best Roman 
violin makers of his time. He worked on the whole 
according to Tecchler (scrolls and broad upper part 
of violins) and may have been the latter's assistant. 
He applied a yellow-red varnish. Price 12.000 Kc. 
and more; rare. 

Polverino Rinaldo, Ferrara. 1467. Lute maker. 

Pontiggio Vittorio, Como. 1853. Little known. 

Ponzi Giulio, Milan. 1850. He worked very well in 
the style of various old Italian masters. 

Popella, Naples. 17th century. Little known master. 

Portoghese Francesco, Rome. 1616. Lute maker. 

Posta Cristofano, Milan, 1666. Worked on the model 
of Gasparo da Salo, but with less success. Instru- 
ments of historic interest. 


1. setembre in Milano 

da capo di contrada larga 

ne la botega di Christofano Posta. 

Postacchini Andrea, Fermo, b. Dec. 30, 1786 in Fermo, 
d. Feb. 3, 1862. Careful workmanship. He imitated 
with skill J. Guarneri del Gesii and used good wood 
for the belly and back, which he made rather thick 
in the middle part. The arching and the edges are 
somewhat flat, the purfling well finished, the scrolls 
carved in a delicate manner. He applied mostly 
a red, sometimes also red-yellow or red-brown var- 
nish. Price 16.000 Kc. but it is constantly rising, for 
his instruments have lately aroused great interest. 

Andrea Postacchini Amici filius 
fecit Firmi, anno 1810, opus . . 

Postacchini Andrea II., Fermo. 1810—1857. Andrea's 
son who worked, however, on the model of Amati. 
His instruments are distinguished by flatter arching, 
careful workmanship, orange, yellow-red ('cellos) or 
brown varnish. Price ca 16.000 Kc. 

Postacchini Rafaele, Fermo, b. Apr. 16, 1823, d. Apr. 
1, 1892, son of Andrea and his assistant. Though 


eclipsed by his father, whose labels he seems to have 
used for a long time, he should nevertheless pass for 
a good master. 

Andreas Postacchini Firmanus fecit 
sub titulo S. Raphaelis Archang. 1854 

Postiglione Vincenzo (I ), Naples, beginning of the 
19th century, perhaps father, or grandfather, of 
Vincenzo II. But few works are known. 

Postiglione Vincenzo (II), Naples, 1835 — May 30, 
1916, son or grandson of Vincenzo P. (I). One of 
the better NeapoHtan masters of the 19th century, 
whose instruments are frequently on the market. 
Good workmanship on the patterns of Stradivari 
and Guarneri. 

Vincentius Postiglione me Fecit Nea- 

poli Anno. 


Vincentius Postiglione me fecit 
Neap. 1875. 

Pozzini Gaspare, Brescia. 1691, 1699. Worked well 
on the model of G. P. Maggini. Price 20.000 Kc. 

Praga Eugenio, Genoa. Born Apr. 14, 1847, d. 1901. 
Pupil of Nicolo Bianchi. Built good instruments in 
the style of Guarneri and Stradivari. He applied 
a yellow varnish. Price 12.000 Kc. and more. 

Eugenio Praga 
face Genua Anno .... 

Pratasini Giovanni, Turin. 1780. Mandolin maker. 
Presbler Francesco, Milan. 1730 — 1773. Worked in 
company with his son. He made chiefly mandolins. 

Francesco Plesber 

in Milano 

nella contrada della Dogana 

al segno del Sole 1773. 

Francesco Plesber, e 

Giuseppe figlio 

in Milano 

nella Contrada della Dogana 

al Segno del Sole 177. 

Presbler Giuseppe, Milan. 1760 — 1801. Son of Fran- 
cesco Presbler, his pupil and successor. Built lutes 
and mandolins. A 14-stringed lute of his making 

is known. 

Giuseppe Presbler 

in Milano 

nella contrada della dogana 

all insegno del sole 1796. 

Pressenda Gian Francesco, Alba, Carmagnola, Turin, 
Born Jan. 6, 1777, d. Sept. 11, 1854. Humble mu- 
sician, then, finding he could make his living as 
violin maker (after trying other professions) he 
grew to become one of the greatest masters of the 
century. Son of Raffaele Pressenda and pupil of 

L. Storioni. Excellent workmanship on Stradivari's 
model of low arching. The sides of his instruments 
are somewhat higher. After 1820 he worked in 
Turin, (previously, in 1814, at Alba, then at Car- 
magnola). He used good and beautiful resonant 
wood, especially fine maple-wood. The sound-holes 
and scrolls are cut in exemplary fashion. He applied 
his exquisite yellow, brown-yellow, brown or deep 
red varnish on a thin ground coat which was col- 
oured and soaked into the soft pine-wood belly, 
so that it appear^ somewhat darker than the back 
of the instrument. The curl of his maple-wood plates 
offers a delightful sight. We have not seen enough 
of his genuine instruments to maintain positively 
that he was a greater master than his teacher 
L. Storioni, but one instrument submitted to us in 
1949 fully corroborates this opinion. 

A much admired and imitated master; even cre- 
ations of very good violin makers (especially those 
of G. A. Rocca) were often marked with labels 
bearing his name. The tone of his instruments is rich, 
mellowly sensual, carries wonderfully and is some- 
times even aggressive. Price above 80.000 Kc, con- 
stantly rising. 

Pressenda Raffaele, Turin ca 1790, according to 
Liittgendorff, violin maker. Rene Vannes doubts his 
existence, at least as maker. 

Pucci Dante, Florence, b. 1876 in Perugia, guitar and 
violin maker. 

Puccini Eligio, Emboli, b. 1900. Stradivari pattern. 

Puppati Francesco, Udine. Born at Udine on Nov. 31, 
1838. A violin virtuoso who began to build violins 
in 1880, on the model of Stradivari. Very good tone. 

Puzzini Ben., Rome 1876. Mandolin maker. 


Rabaglietti Antonio, Verona. 1652. He was violin and 
lute maker, but none of his instruments survive. 

Rabatta Carlo Antonio. 1707. Little known violin 
maker; it is not even known where he worked. 

Raccoris Nicolo, Mantua. 1760. Instruments of average 
quality, coated with red-brown varnish. 

Ragona Pietro, Palermo. 1840. Guitar and mandolin 

Railich Giovanni, Padua. 1672, 1678. Instruments of 
the flat Florentine type, coated with yellow varnish. 
He was the teacher of Math. Klotz, whose journey- 
man's certificate bears the signature Zuane Railihe. 


Giovanni Railfch 
Xattfaro in Padova 

Railich Matteo, Brescia. Born about 1614, died after 
1655. Son of Andrea and brother of Pietro Railich. 
He buih lutes. 

Railich Pietro, Venice, Padua. 1644—1670. Son of 
Andrea and brother of Matteo. He worked in Ve- 
nice till 1655, in Padua from 1655 till 1670. The 
arching of his instrument is somewhat high, the 
good brown-red varnish has darkened and appears 
today black-brown. 

Pietro Railich 
alia Givia Venetia 1644. 

Pietro Railich 
Al Santo in Padova 1655. 

Ramolo Giovanni, Rome. 1626. Lute maker, who came 
to Rome from Genoa. 

Ramusio Giovanni, Turin. 1779. Lute maker, violin and 
mandolin maker of minor importance. 

Ranaldi Antonio, Naples. 1848. Mandolin maker. 

Ranta Pietro, Brescia. 1733. Worked on the model of 
N. Amati, but his work is not good. He applied a 
yellow-brown varnish, or, to be more exact, brown 
varnish on yellow ground. Price 10.000 Kc. 

Raphael, Brescia. 19th century. Little known violin 

Raphanelli, Brescia. 1652—1700. Worked on the mo- 
del of G. P. Maggini and coated his instruments with 
a brown varnish. The instruments are rather thin in 
wood. The tone is of medium quality and, accord- 
ingly, the price is not high. 

Rastelli, Genoa. 1822. Mediocre violin maker. 

Rasura Vincenzo, Lugo. 1785. Very few of his works 
are on record. 

Rauser Sebastian, Verona. 1590—1605. Good lute 
maker, perhaps of German origin (Rauscher). 

Sebastian rauser in verona 1605. 
Ravanelli, Brescia, see Raphanelli. 
Ravena Gio Battista, Lavagna, 19th century. 
Ravizza Carlo, Milan, b. 1882, instrument maker and 

Raynaldi Antonio, called "Simonetta", Langres, Rome. 

1517. Ancient lute maker. 
Razzoli Fehce, Villa Minozza (Modena). 1880. He 

was a good master and violins by him have attained 

good prices. Applied brown-red varnish. 
Realli Cosma Battista, Parma. 1667. Built instruments 

of medium quality; applied a brown varnish. 

Cosmo Battista Realli 
in Parma 1667. 

Rechardini Giovanni, called "Zuane", Venice. 1605, 
1609. Lute and violin maker. The spelling on the 
labels varies and the instruments are not always be- 

■' ■ Zuane Rechardini di Venezia 

all'insegno del Basso 1605. 

Rechardini Pietro, Venice. 1617. Worked on the pat- 
tern of Amati; used good wood; applied a golden- 
red varnish; took a rather high arching; made good 
scrolls and sound-holes. The instruments have a good 

Rechardini Pietro. 1860. Little known violin maker. 

Reggiani Francesco, S. Martino d'Este (Modena). 
1836. Little known violin maker. 

Regonini Domenico, Ostiano (Cremona), b. Jan. 29, 

Regina Giacomo. 1708. Little known. 

Remondini Andrea, Bologna. 1720—1723. Good work 
and good tone. Price according to beauty and merit 
of instrument. 

Renisto, Cremona (no Christian name). The first word 
used to be explained as standing for "revisto" (re- 
vised); the true label having got lost, it passed for 
a name. The work being on the pattern of Carlo 
Bergonzi, "Renisto" was then said to have been 
Bergonzi's pupil. The first "Renisto" may have been 
an error, but the further ones were certainly fakes. 

Reynaldis Francesco (de), Florence ca 1508, ancient 
lute maker. One guitarrone is known. 

Franciscus de Reynaldis 1508. 

Ricci Luigi, Naples 1898. Mandolin maker. 

Riceverti (Ricevuti) Aurelio, Florence. 1650. Good 
violin maker, according to Valdrighi. 

Richardini Pietro, see Rechardini. 

Richter, Modena 1808. Violin and guitar maker. 

Ricolazi Davide, Cremona. 1740. Almost unknown. 

Ricolazi Ludovico, Cremona. 1729. Little known. 

Ricolazi Nicolo, Civitavecchia. 1759. Worked on the 
pattern of G. C. Gigli. Built high-arched violins 
with broad purfling. The back is of one piece, the 
sound-holes beautifully cut. He applied a yellow var- 
nish. Instruments of fairly good tone. 

Nicolo Ricolazi Civitavecchia 

Ricordi Giovanni, Milan, d. March 15, 1853. 

Giovanni Ricordi Milano. 

Righi Antonio, Modena, 1817. Self-taught maker who 
built fairly good contrabasses. 

Antonius Righi tinctor 
filius Ambrosii, fecit Mutinae, anno 1817. 

Rinaldi Celeste, Modena, 1878. Violin maker, mediocre 


225. Santino Lavazza, Milano, 1634 

226. Matias Leb, Piacenza, 1775 


227. Matias Leb, Piacenza, 1775 


228. Giovanni Paolo Maggini, Brescia 









fe^n.-'V-.x^iM-^'' **! 









v.- • ^, '-■:\j 

236. Gregorio Montade, Cremona, 1620 




237. Joseph Molinari, Venetiis 

























^WMWWX ^- 





242. Joseph Odoardi, Piceno 


















'-"l^tT^ -^ - 







250. Joannes Franciscus Pressenda, Taurini 


























> V -i*^ » 












--"'■ i-i-i:V4 , 


it hi 









.»ai|o»f 111 







































271. Viola: Francesco Ruggieri detto il Per, Cremona, 1698 




Rinaldi Gofredo Benedeto, Turin. 1850, died 1888. 
Pupil of Pressenda. Worked well on the model of his 
teacher, though he finished the edges of his instru- 
ments less delicately than his master. His violins are 
good orchestral instruments; better are his 'celli. He 
was good hand at repairing. Price 12.000 Kc. 

Rinaldi Lodovico, Rimini. 1804. Probably son and pupil 
of Goffredo. 

Ristorini Gianfrancesco, Florence. 1678. Lute maker. 

Rittig Cristoforus, Genoa. 1680—1692. Good master, 
who built 'cellos of excellent quality. Instruments by 
him are characterized by large sound-holes. 

Christopharus Rittig fe 
cit Genuae anno 1680. 

Riva Giovanni, Piacenza. 1884. Little known violin 

Rivolta Giacomo, Milan. 1800—1834. Very good work- 
manship on the patterns of Stradivari and Nic. Ga- 
gliano. He devoted more care to the building of 'celli. 
Likewise his contrabasses are of good quality. 

Jacobus Rivolta 

fece Milano 1828 

Premiato di medaglia d'argento indi di quella d'oro 

per aver fatto risorgere la scuola del celebre Stradivari. 

Giacomo Rivolta 
fecit Mediolani 1821. 

Rizzotti Nicola, Novellara (Modena). 1880. Good 'celh 
and violins. 

Rocca , Genoa. 1762. Worked on the pattern 

of Jos. Guarneri del Gesii; built instruments of low 
arching, with beautifully carved scrolls shaped in 
a peculiar fashion. He used written labels. His Chris- 
tian name is unknown. Scarce. 

Rocca Enrico, Genoa, b. Apr. 25. 1847 in Turin, d. June 
7, 1915. Son and successor of Joseph. Worked on the 
pattern of Guarneri and applied a golden-yellow 
varnish. Skilful violin and mandolin maker. Instru- 
ments particularly valued in England. 

Rocca Giovanni Domenico, Turin. Ca 1809. Worked 
on the pattern of J. Guarneri del Gesu. 

Joh. Domin. Rocca 

Taurini 1809. (written) 

Rocca Giuseppe, Genoa. 1854. Father of Enrico. 
Careful work, Guarneri pattern. 

Rocca Giuseppe Antonio, Genoa, Turin, b. 1807, d. 
1865. Up to the age of twenty he worked with his 
father as a baker, then became apprentice with Pres- 
senda. He worked on the patterns of Stradivari, 
Guarneri del Gesu and Maggini, but learned a great 
deal from his master, especially with regard to tone. 
He used very good wood. The scrolls, large hke those 
of Pressenda, are tasteful; the shape of the sound- 

holes is beautiful. The purfling is suitably located, the 

back often of one piece. He applied a yellow, red, 

brown or red-brown varnish of excellent qualities. 

The tone is very rich and possesses great carrying 

power. Many instruments dated 1831 are fakes. Price 

50.000-80.000 Kc. The sizes of a violin built by 

G. R. in 1850 are as follows; length of back 357 mm, 

upper width 167,5 mm, centre 110.5 mm, lower width 

208,5 mm. 

Joseph Rocca Taurini 1830. 


nK^^i-y- < 

JOSEPH ROCpA feM ••> ^ 

Pr«siiBto di Mfldafito &lie Espo^ooi 'f^ 
di tortno . ikaorz, ,• tondr* » Pw^f- ' 

Taurini. anno Domini 4 86"'^' 'HS 




•,t_ ^\\. 

Y^ JosepKHocca fecit 

Taurini annoJDomtiu 18 H 3 

m -r -~^ V ''^- ^ T »»-* -» «. 3 ^f^*w^agXUI^* ' '"S ' ''' ' '^^^^ 

feci: Taurh-ji 
mm Pomiai 185 

Roche Sebastian, Venice. 1620 Lute maker. 

Rocchi Sesto, S. Paolo d'Enza (Reggio Emilia) b. Oct. 4, 
1909, pupil of Gaetano Sgarabotto, followed Stradi- 
vari and Guarneri and applied a yellow or red 
varnish. Exhibited a violin and a quartet at Cre- 
mona 1937. 

Sextus Rocchi -I- 

Regiensis fecit 1918 S R 

Rocchi Sextus Regiensis — All 
L. Bisiach Faciebat Anno 1935 

Roccus P. Domenico, Florence ca 1696, worked in the 
style of Nic. Amati; transparent yellow varnish. 

P. Roccus de Bonis fecit 
Florentia anno Salutis 1696 


Rochi Christofilo, Padua, Venice. Lived in the early 
17th century. Good craftsmanship. Best are his 
works of the year 1620. Rare. 

Rodiani Giovita, Brescia, Bologna. Born about 1545, 
died after 1624. Worked on the pattern of Gasparo 
da Salo, whose helpmate he had been for a long time. 
His creations of later years are in the style of Mag- 
gini. He applied an amber-yellow varnish. Histori- 
cally valuable instruments if not too much damaged 
by age. Price about 20.000 Kc. 

Giouita Rodiani in Brescia. 

Rogeri Giovanni Battista, Brescia. Born in Bologna 
about 1650, died in Brescia in 1730. He soon came 
to Cremona, where he was, along with Stradivari, 
initiated in the craft by N. Amati. In 1680, he left 
Cremona for Brescia where he worked until his 
death. He built instruments on the large model of 
Amati which he imitated with excellent skill. There 
are, however, also instruments of small pattern with 
middle arching. He selected wood of excellent quality. 
Beautifully finished scrolls, long sound-holes, purfling 
finely executed, sometimes, however, only engraved 
on the back of the instrument. His 'celli and contra- 
basses are admired instruments. He applied a fine 
golden-red, bright red or golden-brown varnish. 
The tone of his instruments is sweet and mellow. The 
labels he used are red and bear an inscription printed 
in black letters. The backs of the 'celli are occasion- 
ally of maple-wood. The price of the violins is ac- 
cording to Fuchs-Mockel 50 - 80.000 Kc, 'cellos more : 
according to Hamma up to 200.000 Kc. The dimen- 
sions of a violin of 1704 are as follows: length of 
back 354 mm, upper width 162 mm, centre width 
107,5 mm, lower width 201,5 mm; sizes of a 'cello of 
the year 1700: length of back 733 mm, upper width 
364 mm; lower width 443 mm, upper sides 112 mm, 
and lower sides 118 mm. 

Jo: Baptista Rugerius Nicolal Amati 
Cremonae alumnus Brlxlae fecit anno 1709. 

lo: BapL Rogerius Bon: Nicolai Amati deCreaio- 
xu alumnus Brixiac fecit Anno Domini;> ipro 5 

Rogeri Pietro Giacomo, Brescia. Born about 1680, died 
after 1730. Son of Giambattista Rogeri, keeping 
on the whole his model (of a more slender shape), 
but lacking the careful craftsmanship of his father. 
He used good wood, made the purfling nearer the 
edge, cut the scrolls and sound-holes with taste and 
skill. Applied a beautiful golden-yellow varnish. His 
speciality were instruments of small pattern. The 

excellent tone of his creations, particularly of the 
'cellos and violas, is reflected in the price of a large 
'cello, once owned by Paganini, which was sold at the 
price of 400.000 Kc. Contrabasses by him are also 
outstanding. Price of violins 65 — 80.000 Kc, even 

Petrus Jacobus Rogeri 
fecit Brlxlae 1709. 

Petrus Jacobus Rogerlus de Nicolai 
Amati Cremonensls Fecit Brlxlae 1700. 

Rogieri Domenico, San Valentino, Cremona, until 
1750. Very careful workmanship on the pattern of 
Amati. He selected very good wood, enhanced the 
beauty of his instruments with double purfling, and 
applied a golden yellow varnish of excellent quality. 
Instruments by him are said to be of exquisite tone, 
but there is little evidence for the identity of the 
maker and the spelling of the name is doubtful (Ro- 
geri — Ruggieri?). 

Rollini Giambattista, Pesaro. 1471. Lute maker. 

Romagnoli Francesco, Bologna. 1821. Guitar and 
mandolin maker. 

Romani Giulio Cesare, Rome, 18th century. 

Romanini Antonio, Cremona. 1705, 1740. Good violas 
d'am.our and violins. 

AxTo::«]o Koman-ini iV-it 

Romano Clemente, Como. Died 1949. Stradivari 

Romano Pietro, Pavia. 18th century. 

Pietro Romano In Borgo dl Pavla 

Romarius Antonio, Cremona 1703. Known only from 
a viola d'amour preserved in the Museum of Stock- 

'^° Romarius Antonio, Cremona 1703 

Antonius Romarius 1703 

Rondani Ernesto, Turin. 1884. Violin maker of no 
particular merit. 

Ronchetti Domenico, S. Valentino (Reggio). 1689, 
1769. Said to have been successor of Dom. Rogieri. 
Inferior workmanship. Dark-red varnish. 

Ronchino Raffaello, Fano. 1851. Worked on the pat- 
terns of Stradivari and C. G. Testore. Good wood, 
brown-yellow varnish. He was a very good hand at 

dtl ii'St 


Rosa Agostino, Rome. 1795. Son of Nicola Rosa of 
Naples. Produced mandolins. 

Rosa Nicola, Naples. 1680-1720. Lute maker. 

Rosadoni Giovanni, Pavia, b. June 14, 1905, self depen- 
dent since 1949. Stradivari pattern, golden-yellow 

Costruito dal Liutaio Rosadoni Giovanni 
in Pavia anno 194 . 

Rosario P. and son, Catania. 1898. Mandolin makers. 

Roselli Antonio, Sassuolo (Modena). Born Jan. 17, 
1798, d. Feb. 22, 1870. Violin maker. Instruments 
and repairs by him are below standard quality. He 
was a Jack-of-all-trades, made wind instruments, 
painted pictures, was a good musician, a barber, and 
finished as beggar. 

Rossi Domenico, Piacenza. d. 1910. Imitations and 


Domenico Rossi 

fece in Piacenza 


Rosiero Rocco, Cremona. 1730. Good workmanship, 

little known. 
Rosio Paolo, Verolanuova. 1857. Contrabass maker. 
Rossi fu Domenico, Piacenza, Via Castello 66. 

Exhibited one violin at Cremona in 1937. 
Rossi Emilio, Piacenza, b. Feb. 14, 1895, son and pupil 

of Domenico R. Emilio exhibited a violin at Cremona 

in 1937. 





PIACENZA — Via Castello — Piacenza 

Rossi Enrico, Pavia. Born in March 1848 at Pavia. Son 
and pupil of Giov. Rossi. Good workmanship on the 
patterns of Guarneri, Stradivari, Guadagnini and 
Testore. Worked in company with his son Guglielmo. 
Applied good varnish. 

Enrico Rossi 

Fabbricante d'instrumenti a 


Pavia Piazza del Carmine 


Rossi Ferdinando, Modena. 1880. He was highly skilled 
in repairing instruments of old masters. His own 
creations lack quality. 

Rossi Gaetano, Milan. 19th century. Perhaps son and 
pupil of Nic. Rossi. Good workmanship; particularly 
the 'celli and contrabasses. He applied, in thin coats, 
a red varnish. He was an expert at repairing. 

Rossi G., Milano 

Rossi Giovanni, Pavia. 1847-1858. A pupil of P. Pal- 
lota Perugia. Among his instruments the contrabas- 
ses are the best. 

Rossi Giuseppe (Cte), Rome. Born in Florence in 1869. 
His parents, descendants of a titled family, were from 
Venice. Rossi worked on the patterns of all the great 
masters, but his favourite model was Stradivari. He 
applied a rosy-yellow oil or spirit varnish of beauti- 
ful lustre. He was many times awarded prizes and 
other distinctions at various exhibitions for his care- 
ful workmanship. He used different labels. 

Gir>i.i Ph KO^S 

CITTADELLA (!-adr,,a)J 

Rossi Guglielmo, Pavia 1875 — 1949 was son and pupil 
of Enrico Rossi. 

Rossi Nicola, Milan. 1842, 1844. Good workmanship 
on the patterns of old masters, excellent contra- 
basses. Red varnish (dragon's blood). 

Nicola Rossi 

Fabbricatore e ristauratore 

d'instrumenti a corde armonlche 

Abita in Milano 

Contrada S. Mattia alia Moneta 

al civico 3137 

Fece nell Febrairo del 


Rossi Guglielmo, Pavia. Born about 1875. Son, pupil 
and collaborator of Enrico Rossi. Skilful violin 

Rosilli Salvatore, Rome. Ca 1797. A violin maker, un- 
known until recent time. Only one violin by him 


is known, a specimen of wonderful perfection, coated 
with yellow-brown varnish. The instrument has a 
peculiar shape of its own, most pleasing to the eye; 
the sound-holes are gracefully cut. It is unknown 
whether he was a violin-maker or a self-taught fan- 
cier of the craft, but his workmanship shows the 
assured touch of a master. 
Rossini Giovanni, Battista Maria, Ravena. 1765—1777. 
Skilful violin maker who made violins with low 

°' lohannes Maria Rossini fecit 
Ravena A. D. 1775. 

Rossio Giovanni, Rome. 1901. His repute is not yet 

Rota Giovanni, Cremona. Instruments built between 

1795 — 1810. Very careful workmanship. He applied 

a fat yellow-brown or red varnish. Price 15.000 Kc. 

and more. ., „ 4. * ■.. 

Joannes Rota fecit 

Cremona anno 17 . . 

Joannes Rota 
Cremonese Anno 1808. 

Antonio Ruggieri figlio 

del £u Giacinto fece 

in Cremona 1723 

Rotta Giuseppe Antonio, see Rocca G. A. Fictitious 
label; a violin maker of this name has never lived. 

Rotella Bernardino, Spoleto, 1827. A master, whose 
instruments did not owe their success to any parti- 
cular quality. 

Rovati Christoforo, Bazzano. 1789. 

Rovescalli Azzo, Milan, b. 1880, d. 1941, followed 

Rovescalli TuUio, Varese, b. 1906 in Milan, son and 
pupil of Azzo Rovescalli. 

Rovetta Antonio, Bergamo, Milan. 1840— 1884.Worked 
very carefully in the style of the old Cremonese 
masters. Copies by him are very good both in finish 
and tone. Price 12.000 Kc. 

Rubini or Rubis Aug. or Ang., Viterbo. 1763—1771. 
Skilful self-taught violin maker. Surviving labels are 
damaged and illegible. 

Aug. de Rub ad animi delectationem 
Fecit Viterbi 1763. 

Rubini, Bologna. 19th century. Devoted himself to the 

production of guitars. 
Rubino Gennaro, Naples. 1899. Mandolin maker. 
Ruggeri Antonio, Cremona 1723. Son of Giacinto Rug- 

geri. Little known member of the family. Paul de Witt 

(Geigenzettel alter Meister) reproduced a label of 

his from an isolated specimen. 

_ teiaw 't ij;,^ '*^*' 

Ruggeri Francesco, Cremona. 1645—1700. The oldest 
and best violin maker of the family (Not to be mis- 
taken for the Rogeri family). He was a pupil of Nic. 
Amati. He selected fine wood, but made the backs 
of the 'cellos (on which he specialized) often of maple- 
wood. The pattern is long, rather broad, of beautiful 
shape, pleasing to the eye; the arching is somewhat 
higher, the scrolls bigger than those designed by his 
teacher. Faultlessly modelled instruments; sound- 
holes rather short, tastefully cut; broad, yet hand- 
some purfling; typical long middle bouts. He applied a 
lustrous brilliant and transparent varnish deep red, 
dark-yellow-red, bright-yellow-red or orange. The 
'cellos, which are more powerful in tone than his 
violins (the latter are more mellow than strong), 
belong to the best in general and are in great favour. 
He built more 'cellos than violins and violas. Price 
150 — 200.000 Kc. and more. Francesco Ruggieri was 
the father of Giacinto (1666—1698) and Vincenzo 
(1690—1735). Antonio, who worked in Cremona ca 
1723, was a son of Giacinto Ruggieri. 

Dimensions of 'cellos built in 1667: 





Length of back . . 

. 767 mm 

729 mm 

Upper width 

. . 377 mm 

360 mm 

Lower width 

. . 465 mm 

446 mm 

Height of upper sides 

. . 114 mm 

110 mm 

Height of lower sides 

. . 117 mm 

112 mm 

Francesco Rugier detto il Per 
Cremona 16. 

, '* ^ ■■■* <Pv ««. "^ j« 

Trancesco Ruggieri dclto; 
'. il per Cmftona ^^ J$ ■, 



Cremona i€ a ty, '. 



France^b Bu|t(;e'rl dj 

Ruggeri Giacinto (Giovanni Battista), Cremona. 1666 
— 1698. Son of Francesco and probably his pupil, for 
he worked in the same manner as his father, lacking, 
however, to some extent the latter's skill. According 
to Liittgendorff, Giacinto was not identical with Gio 
Battista, but they were two different violin makers. 
(We incline to the same opinion, but without definite 
evidence. Giacinto may have been a nickname. Our 
efforts to throw more light on the lineage of the 
Ruggeri and Roggeri families have been hampered 
by Naziism, war and the unsettled conditions after- 
wards. We hope, however, to succeed later.) Giacinto 
Ruggeri built his instruments on a large, broad mo- 
del with a still higher arching than that designed by 
his father. The shapely scrolls are rather large, the 
delicately cut sound-holes longer and more upright 
than those of his father. The dark-brown varnish he 
applied is of good quality. He devoted most of his 
time to the building of 'cellos which are very good, 
although they are not finished with such care as those 
of his father. The tone of his instruments is outstand- 
ing. Price 120-160.000 Kc. 

Gio Battista Rugier detto il per 
fecit Cremonae Anno 1666/7. 

Giacinto figlio di Francesco 
Ruggerie detto il Per 1696. 

Giacinto filio di Francesco 
Rugier detto il per 1692. 

Giacinto figlio di 

Francesco Rugger detto il Per 


Ruggeri Quido, Cremona. 1720. His existence has not 
been proved so far; there is reason to suspect a mys- 
tery. (Q for G.) 

Ruggeri Vincenzo, detto il Per, Cremona. 1690 — 1735. 
Second son of Francesco Ruggeri. Instruments by 
him are not characterized by particularly careful 
workmanship, but inasmuch as their tone is con- 
cerned, they are good. The wood is, with but few 
insignificant exceptions, fine; the scrolls and the 
small sound-holes are gracefully cut; the carefully 
finished purfling is near the edge. His 'cellos are 

excellent. He applied a beautiful yellow-brown, brown 
or red varnish. Price 65 — 80.000 Kc. 

Vincenzo Rugier detto il per 
in Cremona 17 . . 

Vincenzo Ruger il Per 
In Cremona 1711. 

. M </> M «» «a 

* Vicenso Ruger detto il Per. * 
' InCrfctnonai 1735 * 

Ruscheri Georgius. 1680. Works marked with this 
name are fakes made about the end of the 18th or 
beginning of the 19th century. They are of German 
origin, for Ruggeri's name is written with sch". 

Sacconi Bcnigno, Milan. 1910. Skilful violin maker of 
the 20th century. 

Sacconi Fernando, Rome. Born 1895. Pupil of Gius. 
Rossi. Worked very carefully on the pattern of Stra- 
divari. Applied orange-yellow or brown varnish of 
beautiful lustre. Instruments by him are much in 
favour with active artists; they were played by the 
violinist Arrigo Serato and the 'cellist Arturo Bo- 

fcvnan^o Sacconi 

Sacchetti Gianetto e Figli, S. Martino in Rio, Reggio 
Emilia, Via Facci 6. They exhibited one violin at 
Cremona in 1937. 

Sacchini Sabattino, Pesaro. 1670—1686. Imitator and 
perhaps also a pupil of Antonio Mariani. Good 
workmanship. He specialized in making beautiful 
pochettes, i. e., narrow pocket-violins with thin tone 
for dancing-masters. Price of a violin 16.000 Kc. 

Sabattino Sacchini 
da Pesaro, 16 . . 

Sebastiano Sacchini 
de Pesaro I'anno 16 . . 

Sagliocco Ed. & Co., Naples. Musical instrument fac- 

Saisione Giovanni, Rome, 1725. Excellent lutes and 
mandolins, but suspicious labels. Liittgendorff admits 
the possibility of his being identical with the Venetian 
lute maker "Maestro Sansone" or of a fake, the real 


man being the Sicilian musician Bat. Sansone, who 
lived in Rome in the 16th century, or, finally, a mis- 
reading of the Roman violin maker's name Giov. 
Smorzone (see below). 
Salino Giov. Battista, Rome. Ca 1760. Weil buih, high- 
arched instruments coated with dark-brown varnish. 
Price 10.000 Kc and more. 

J. B. Salino 
fecit Roma anno 1760. 

J. B. Salino fecit 
Roma anno 17 . . 

Saltinari Giacomo, Morano sul Parano (Modena). 

1880. Devoted himself almost exclusively to repairs. 
Salvadori Giuseppe, Pistoia. 1861, 1863. Maker of all 

stringed instruments, but for the most part guitars. 

Giuseppe Sa/fmdarl 

l^;p PJsie^ IS ^J : 

Salvaterra Francesco, Milan. 1609. Lute and man- 
dolin maker. 

Franclscus Salvaterra civis Mediolani 
pro Solatio fecit Anno 1609. 

Salviati Armando, Pavia, pupil of Pietro Menenghesso 
in Pavia. 

Salviati Francesco, Verona, 19th century violin maker; 
brown varnish. 

Sanctis Giovanni de, Rome. 1884. Guitar and mandolin 

Sangelia Lorenzo, Florence. 1777. Instruments of fine 
finish, rare. 

Sanoni Giovanni Battista, Verona. 1680—1740. His 
violins are predominantly high-arched, of a very 
characteristic shape, with rather upright sound-holes, 
large scrolls (lacking delicate cut), grooved edges. 
He applied a good red, or red-brown varnish. On the 
whole, good instruments. Price 16.000 Kc. 

Sansone Maestro Battista, Venice. 1540. As a lutanist 
he came to Rome about 1540, and established him- 
self shortly afterwards as lute maker in Venice. His 
name is merely of historic interest. 

Santagiuliana Gaetano, Vicenza. Ca 1804. Conscien- 
tious workmanship; particularly his 'cellos are excel- 
lent. The backs of all his instruments are made of 
two pieces. Beautifully carved scrolls. Dark-brown 
varnish of wonderful lustre. 

Cajectanus Santagiuliana 
Fecit Vicentiae. 

Santagiuliana Giacinto, Vicenza, Venice. 1770—1830. 
Worked at Vicenza up to 1780, later in Venice. His 
typical specimens are designed on the large model of 
Amati. The edges are somewhat grooved, the purfling 
rather broad; long corner edges; large sound-holes; 
large, deeply cut scrolls. The wood, particularly the 
maple he used, is of excellent quality. He applied, 
with delicate taste, good orange-coloured varnish. 
Instruments by him, particularly his 'cellos, have a 
powerful tone. Price 15 — 30.000 Kc, 'cello more. 


.VJCETIAf^ Anno'""i&/^ ' 
». ft '^' ' 

Sante, Pesaro. Ca 1670. 

Sante Giuseppe, Rome. 1778. Good, but unhandsomely 

shaped and roughly finished instruments with a 

rather high arching. Price 10 — 12.000 Kc. 
Santi Cristoforo, Sestino. 1748. Worked in the style 

of the Pesaro school, but lacked craftsmanship. 
Santini A. Arezzo, ca 1570. Perhaps only spinet maker, 

other instruments not available. 

A. Santinius in Arrezzo 1570. 

Santini Giuseppe, Ascoli, b. June 1, 1889, worked also 
as cabinet maker in Milan. 

Santini Giuseppe 
Fece in Ascoli anno 1922. 

Santini Brothers, Castelnuovo di Vicenza. 1898. 
Makers of good mandolins. 

Santo Bartolomeo di, Venice. 1536. Lute maker. 

Santo Giovanni, Naples. 1700—1740. Made instru- 
ments on the small pattern of N. Amati, of fairly 
good shape and finish and applied red varnish. 
Price ca 15.000 Kc. 

Santo Santino, Milan. 1684—1700. Good workman- 
ship on the pattern of the Grancinos. Price ca 
10.000 Kc. 

Sapino, Saluzzo, 1670. This violin maker, mentioned 
by Fetis in his work on Stradivari, was a pupil of 
Goffredo Cappa. His instruments must have been 
excellent, for Fetis reported him as a master of high 
rank. Today, nothing is known about them from 
direct experience. Where are they? 


Saraceni Domenico, Florence. 1655. Skilful violin and 

lute maker. Price 12.000 Kc. 
Saraceni Giambattista, Florence. 1667. Son and pupil 

of Domenico. Good workmansfiip. 
Saratelli Carlo Antonio, Modena. 1913. Violin maker 

of medium skill. 
Sarazzino Antonio, Brescia. 1674. Little known violin 

'^^'^^'^- Antonius Sarazzinus 

in Brescia fe- 
cit anno 1674. 

Sardi, Venice. 1649. Viol and lute maker. 
Saretta Giuseppe, Montebello (Treviso), b. March 31, 
1894 in Montebello. His proper vocation was in- 
dustrial art. Giuseppe Saretta 
Montebelluna (Treviso) Anno 19 . . 

Joseph Saretta 
faclebat A, XI 

Sassi Alessio, Milan. 1784. His workmanship is not 

outstanding, only his 'celli are well built. 
Sauli Natale, Alessandria. 1689. 

Savani Giuseppe, Carpi. 1809. Excellent contrabasses. 
Sbordoni Giovanni Gelmini, Brescia, ca 1855. 

Nuova invenzione del 

Sig. Maestro Sbordoni Giovanni Gelmini 

fece I'anno 1855 Brescia. 

Scapio Francesco — only one violin has been cited by 
Rene Vannes. 

Scarabelli Agostino, Mont'Orso (Modena). 

Scarampella Angelo, Brescia. Born at Brescia, June 2, 

Scarampella Giuseppe, Brescia, Paris, Florence. Born 
at Brescia on Aug. 25, 1838, died in Florence in 1885. 
Son of Paolo Scarampella, pupil of Nic. Bianchi in 
Genoa. After having lived a short time in Paris, he 
settled down in Florence, where he worked in Luigi 
Castellani's workshop and established himself, after 
the latter's death, as independent craftsman. He 
applied red varnish. His fine copies of Stradivari's 
and Guarneri's works show the same careful work- 
manship as the patterns of his own creation. Price 
16.000 Kc. Giuseppe Scarampella 

fece in Firenze anno 1885. 

Scarampella Paolo, Brescia. Born Sept. 25, 1803, d. 
Apr. 7, 1870, built of good wood low-arched instru- 
ments with wide purflirig, large scrolls, and applied 
a good red varnish. He made violins, violas, 'cellos, 
guitars and mandolins. The best of them, both in 
shape and tone, are his 'cellos. His successors were 
his sons Giuseppe and Stephano, also good masters. 
Price 15-20.000 Kc. 

Scarampella Stephano, Mantua. Born March 17, 1843, 
d. 1927. Son of Paolo and pupil of his brother Giu- 
seppe. Worked on the pattern of Balestrieri, large, 
broad violins. He was a skilful and very diligent 
master. The varnish is of no particular quality and 
its brown-red hue lacks beauty. Rich tone. 

(SS) Stefano Scarampella Fratello 



Stefano SCARAMPELLA di Brescia 

Fratello ed allievo di Giuseppe 

fece in Mantova Anno 1897 



rh-AILLLO tD ALLIEVO DEL QIVSEPrti~ ;,.'.-... .(• 

\ ■ ■• •■ f * •». .*. ♦-*-«—#-"*.•-•' ■^Ti'-'aC-WS i 

Scardighi Ettore, Siena. 1889. Violin maker of no con- 

Schiavi Carlo, Cremona, via E. Toti, b. 1908, d. March 
18, 1943; was represented at the 1937 Cremona Ex- 
hibition by two violins, one viola and a 'cello. 

Schiavoni Tulho, Milan 1939. 

Schmitt Domenico, Rome, lute and violin maker who 
came ca 1640, already apprenticed, from Bavaria. 

Schonfeld (Sconvelt) Nicola, Bologna. 1560. Lute 
maker, probably a native of Germany. 

Schwarz Giovanni, Venice, Born in Padua 1865, d. 
1937, pupil of Eugeno Degani. Exhibited two violins 
and one viola at Cremona in 1937. 

Sciale Giuseppe, Rome 1810—1840, was almost exclu- 
sively guitar maker. 

Giuseppe Sciale 
Rome via del Corso No 91, anno 1821. 

Giuseppe Sciale 

Via del Corso 

No 91 

Roma 1835. 

Giuseppe Sciale 

fece in Roma 

Anno 1832. 

Sconvelt see Schonfeld. 

Scoti Antonio, Milan. 1747. A mandore with 20 strings 
is known; it is inlaid with mother-of-pearl and ivory. 

Antonio Scoti 
Milano 1747. 

Scotto, Verona. 1511. Mere name; date uncertain. 
Scrollavezza Renato, Neceto (Parma), b. Apr. 14, 
1927, so far unimportant. 


Scrosati Giovanni Domenico, Milan 1775. Scanty evi- 
dence of his activity has been produced. 
SCROSATI Giovanni Domenico 

'^00 ,^ 

Sderci Igido, Florence, Via Montanare 6. Exhibited 
two violins and one viola at Cremona in 1937. 

Sderci Luciano, b. Dec. 13, 1924, son and probably 
pupil of Nicolo Iginio. 

Luciano Sderci di Igino 

fece in Firenze I'anno 1949 

sotto disciplina del padre 

Sderci Nicolo Iginio (Igido), Florence, b. Dec. 7, 1884, 
followed Stradivari and Guarneri. Spirit varnish of 
golden-yellow colour. Some of his violas are large 
(430 mm). His labels are printed on paper of various 

colours. Igninius Sderci fecit 

a Florentia anno 1918. 

Segher Girolamo, Cremona. Born in 1646, still alive in 

1682, was a pupil of N. Amati; otherwise he is very 

little known. 
Segizo Girolamo Maria, Modena. Born in 1503, died 

in 1553. Lute maker. 
Sellas Georgio, Venice. 1624-1680. Brother of Matteo 

Sellas. He was a good lute and violin maker. 
Georgio Sellas alia Stella in Venetia 1640. 

Sellas Matteo, Venice. 1600—1627. Skilful maker, 
whose guitars are finished in quite an artistic man- 
ner. One guitar built by him in 1600 is 81.5 cm long; 
its neck is inlaid with ivory; the body is 46.5 cm long 
and 26.5 cm wide; the sides are 10 cm high. 

Matteo Sellas 
alia Corona in Venezia. 

Selva Giuseppe, Panormo (i. e. Palermo), b. 1894 
Instruments with orange or golden-red oil and spirit 

Semola Simone see Simone dal Liuto. 

Simone Semola fecit Bresciae 1592 
De onore tuti la Santi 

Seni Francesco, Florence. 1634. Violin and lute maker. 
Senta Fabricio, Turin ca 1664. One 'cello is cited, red 
varnish. Fabricius senta fecit 

Firenze anno 1664. 

Senta Felicio, Turin 1716. Little known. 

Felicio Senta fecit 
Firenze 1716. 

Seraphin Giorgio, Venice. 1742—1749. Grandson of 
Santo Seraphin. His workmanship, as well as the 

wood and varnish he used are very good, the scrolls 
gracefully carved, the tone, however, is weak. Yellow- 
brown varnish. 

Georgius Seraphin, Sancti nepos 
fecit Venetiis 1747. 

Seraphin Giorgio, Modena, Udine. 1841 — 1887. Buih 
instruments on the large pattern of Amati. Applied 
red varnish. As far as the tone is concerned, his 
works are rather good, although not well finished. 
Price 15-25.000 Kc. 

Seraphin Santo, Udine, Venice. Born at Udine in 1668, 
died in Venice about 1748. Pupil of Nic. Amati, who 
worked on the latter's model and also on the pattern 
of Ruggeri, while, in other respects, he relied on 
Stainer. In combining these influences Seraphin 
formed a characteristic model of his own. He came 
to Venice from Udine in 1710. Worked flawless wood 
into gracefully shaped instruments with high arching 
and small round sound-holes in the style of Stainer. 
The nicely executed edges enhance the beauty of the 
carefully finished purfling. He applied a most beauti- 
ful transparent red, yellow-brown or yellow-red 
varnish. The tone of all his instruments is sweet. 
Price 80-100.000 Kc. Dimensions of violin of 1709: 
Length 356 mm, upper width 169 mm, middle width 
108 mm, lower width 209.5 mm. 

Sanctus Seraphin 

Utinensis Fecit 

Venetijs Ann. 17 . . 

Sanctus Seraphin Nicolai Amati 
Cremonensis Allumnus faciebat Udine A: 


Sanclus iSc 

I Utinenfi 
' Venelijs A 

; Ad exemplar Antonii & Hicronymi Amati 
S Gf emoncntium . 


Seraphino G., Naples. Ca 1900. Mandolin maker. 
Serosati Domenico, Naples. Ca 1900. Violin maker of 
good repute. Applied a good brown-yellow varnish. 

Gio"i Domenico Serosati 

Fece in Milano al Segno 

del Colosso 177. 

Serri Pietro, Florence. Ca 1730. Devoted himself to 

mandolin making. 

Pietro Serri 

Fece in Firenze 

Anno 1730 

Settin Giuseppa, Venice, b. 1893 in Crespano, emi- 
grated to the USA where most of his instruments are 
to be found. Stradivari and Guarneri models, chest- 
nut-brown varnish (half oil). 

Joseph Settin Venetus -1- 
fecit anno domini 1924. J S 

Sgarabotto Gaetano (Cavaliere), Milan, Vicenza, San 
Felice, Parma, Brescia. Born Sept. 20, 1878 in Vi- 
cenza, he worked in the style of Stradivari and 
N. Amati, using a red or pale orange varnish. Work- 
ed in Parma after 1928 and in Brescia since 1948. 
Exhibited a violin and an entire quartet at Cremona 

fecit Ni o 

Sgarabotto Pietro, Parma, b. Apr. 10, 1903, in Milan, 
son of Gaetano Sgarabotto, exhibited in 1937 a vio- 
lin, a viola and a 'cello in Cremona. 

Petrus Sgarabotto Mediolani 
fecit Parmae anno Domini 1948 

Sgarbi Antonio, Rome, Palermo, b. Nov. 16, 1866, son 
and probably pupil of Giuseppe S. II. 

Antonio Sgarbi da Finale-Emilia 
Fece in Roma Anno 1896 -I- 

A S 

Antonius Sgarbi Domo -I- 

Finalio In Aemilia A M S 
Fecit Romae An. 19 . . 

Sgarbi Giuseppe (I), Finale Emilia (Modena), Rome 
1770 — 1805. Skilful master, who made instruments 
with a low arching on the models of Amati, Stradi- 
vari or Guarneri. The wood he used is of medium 
quality, the red varnish, however, very good. Price 
25.000 Kc. 

Sgarbi Giuseppe (II), Rome and Modena, 1818—1905. 
Dexterous violin maker. Designed low-arched 

instruments, applied fine varnish of a beautiful red 
hue. He made all kinds of stringed instruments. 
In 1894, he was succeeded by Pietro Messori from 
Siani Valentino, Florence. 1630—1640. Rare beauti- 
fully finished violins and violas, coated with yellov.- 

brown varnish. ,, , ^. . 

Valentmo Siani 

Florent. 16 . . 
Siciliano Antonio, Venice. 1630—1660. Native of Bo- 
logna who called himself also "Antonius Bononien- 
sis" or, in other instruments Siciliano (or even Ci- 
ciliano). Because of these names, Vidal quoted three 
masters, though all three refer to the same man. 
A dexterous and assiduous master who made lutes, 
theorbos and violas. 

Antonio Siciliano 


iilmuo iiamiiom uoiftia 

Siciliano Giacchino. Venice. 1670—1680. Son of Anto- 
nio. Only one gamba is known still to exist. 

Siega Ettore, Venice, b. 1860. d. Dec. 13, 1936. His 
otherwise good instruments have rough edges and 
clumsy heads with protuberant ends. He applied a 
varnish of a golden-orange hue. 

Ettore Siega fece 


anno 1901 

Siega Iginio, Venice, b. Jan. 13, 1903, d. Jan. 10, 1936, 
son of Ettore Siega. 



Fece Venezia 19 . . 

Sigismondo Maestro, Venice. 1514. Lute maker. 

Signorini Serafino, Florence. 1875. 

Simonazzi Amedeo, S. Vittoria and Reggio Emilia, 

b. Apr. 22, 1891, was a pupil of Stefano Scarampella 

in Mantua. 


Scolaro di "Stefano Scarampella" 

Fatto a S. VITTORIA (Emilia) 

Anno 1946 



ANNO 19 . . 

Simonazzi Riccardo, Reggio, b. Jan. 17, 1829, son and 
pupil of Amedeo Simoniazzi. 


figlio ed allievo di Amedeo 

fece in Reggio nell'Emilia 

anno 19 . . 


Simone dal Liuto, Brescia. 1580—1592. Lute maker. 

Simone Semola fecit Bresciag 1592 
De onore tutti li Santi 

Simonis Loretto, Mantua. 1800. Good workmanship in 
the style of the Cremonese school, particularly on 
the pattern of Guarneri. Beautifully carved scrolls, 
chestnut-coloured varnish. 

Sironi Ambrogio, Milan, b. in Milan 1901, d. 1934, 
pupil of R. Antoniazzi. His labels are printed on 
bright yellow paper. 


Sirotti Nicolo, Spilamberto, 19th century. 

Smit Giovanni, Milan, 1646. An Englishman. A pre- 
served guitar made by him in 1646, which is inlaid 
with ivory and mother-of-pearl, bears the following 


Giovanni Smit Milano 1636. 

Giovanni Smith in Milano. 

Smith Domenico, Mantua, ca 1647, was a lute maker. 

Smolha Francesco, Rome after 1849, a Czech (Smolka, 

pron. Sh). Good instruments with chestnut-brown 

varnish. Labels reading Smolka Fratelli suggest 

that he was working with his brother, but they may 

refer to his sons who perhaps continued to run the 


Smolka Fratelli 

Smorzone Giovanni, Rome. 1720, 1724. Lute maker. 

Giovanni Smorzone in Roma 1724. 

Giovanni Smorsone 
in Roma 1722 

Sneider Joseph, Pavia. 1701, 1718. Pupil of Nic. Amati. 
Very nicely finished instruments with high archings, 
gracefully cut scrolls and sound-holes. Applied a good 
transparent varnish of yellow or light-brown hue. 
Price 24.000 and more. 

' ' JTofeph SNcidcr Papias > 
f^iyUmnuL& NicoUi Amati 
-Qretaonxt fecit Anno 17 

Socchi Vincenzo, Bologna. 1661. Lute maker. 
Socol Pio, Genoa. 19th century. 

Soffritti Ettore, Ferrara, b. June 3, 1877, d. Jan. 5, 
1928, son and perhaps pupil of Luigi Soffritti. 

Alunno di Ettore Soffritti 
fece in Ferrara I'anno 19 . . 

Pientinli) fun Hrun .\fri/i'/li-i i/'nn 

'^ itir I'^jvifitum^ Inhunn-.inniiii' ill /Iru.eftlf] 

Feci' ill I'lTinni 'iiiiiio \U 

. ■(■'i-l'f'l j't •(■'( I . ! I -i 1 ; -'i -I I -|--r-j- , -r ; ( i^^ 

Premiato con MedagUe d' oro 

■ VIncUor* d«l ConcorM indatto dalla 
Raj^a Accadtmia di Santa Cacltia in Roma t933 

Fece in Ferrara i'anno 191 

.0 III 

£ Hector Soffrit'i Slius Alovfj ^ 

U lecn Ferrariie An. Dora. jj 

Soffritti Luigi, Ferrara, 19th century, seems to have 
worked for some one else and only exceptionally 
signed his, rather good, works. 

Solferino Remo, Mantua, b. Oct. 11, 1882, pupil of 
Ettore Soffritti. Golden-yellow varnish. Exhibited 
1937 a violin in Cremona. 

Soliani Angelo, Modena. 1752 — 1810. Came to Modena 
from Mantua. Worked in a beautiful manner and 
with much care on the pattern of J. B. Guadagnini II 
of Turin. His instruments which are rare and valu- 
able, have a flat arching, there are, however, works 
with a higher arching as well. Fine wood, sound-holes 
tastefully cut in the fashion of Guadagnini, scrolb 
with projecting inner windings, wonderful varnish 
of a yellow, light-brown or orange-red hue. In the 
centre of the back (inside) he used to brand a mark 
showing the sun emitting beams of light. Price 

80.000 Kc. ^ , ^ ,. . ^ .^ 

Angelus Soliam Fecit 

Mutinae 1792. 

Sombaldi Giuseppe, Rimini. 1741. 
Soncini Luigi, Mont'Orso, San Martino d'Este. 
Ca 1831. 


Sorsana Spirilo, Coni (Cuneo) 1714—1735. Worked 
in Goffredo Cappa's workshop, remained, however, 
much more under the influence of Nic. Amati. Pric3 
16.000 Kc. 

J Spiritus Sorfana ^ 
||i fecit Cunei 1736 u 

Sostegni Salvatore, Florence, 1704. Lute maker. 
Soverini, Bologna. 1883. Little known violin maker. 
Spadari Francesco, Pesaro. Lived about 1603—1570 

and was a lute maker. 
Spadari Giovanni Battista, Pesaro. 1721. Son or 

nephew of Francesco and possibly his pupil. Very 

good workmanship, fine wood. 
Spadaro Bertuccio, Messina. 19th and 20th centuries. 
Spampinato Giuseppe, Turin, b. Dec. 13, 1916, worked 

mostly for dealers; his own signed instruments are 

said to be good in tone. 
Spelta Osvaldo, Lucca, exhibited a violin and a viola 

at Cremona in 1937. 
Spilman Dorigo, Padua. 1591. Very little remains of 

his works, e. g., a 'cello of fine wood and with brown 

varnish. ^ . „ ., . -^^ ^ 

Dorigo Spilman. (written) 

Stanza Giuseppe, Venice. Born about 1660, was a fol- 
lower or pupil of Nic. Amati. He died 1684. 

Statler Andrea, Genoa. Ca 1715. Pupil of Hieron. 
Amati II, the son of Nicolo Amati. 

Stefanini Carlo, Mantua. 1764—1790. Lute and man- 
dolin maker. „ , _ ,, . . 
Carlo Steffamm 

fece in Mantova L'anno 1785. 

Stefano Umberto (di), Rome, b. in Rome July 31, 1924, 
followed the old Cremonese masters and reverted 
sometimes even to the form of Gasparo da Said; 
preferred deep-red varnish on yellow ground. 

Umberto de Stefano 
Roma — 1951 

Steger Lucas, Naples 17th century, son of Heinrich 

Steger, a German; all but unknown. 

Steger Magnus, Venice. 17th century. Lute and viola 

maker. „ c.,, u ■ ,, 

Magno Stegher in Venetia 

Steger Peter, brother of Lucas Steger. 

Steitzer Vincenzo, Brescia. Ca 1619. Little known, 

scarce; high archings, small, narrow, well-carved 

scrolls, golden-yellow varnish. 

Vincenzo Steitzer 
feci in Brescia anno 1619 

Stephannis, Cremona. 1507. Lute maker. 
Storino Giovanni, Lucca. 1725. 

Joannes Storino fecit Anno Dominis 1725 

Storioni Carlo, Cremona, ca 1888. Built instruments 
on the large pattern of Stradivari. Designed rather 
broad scrolls and applied red-brown varnish. Instru- 
ments of powerful tone. 

Carolus Storioni 
Fecit Cremonae 1885 

Storioni Lorenzo, Cremona. Born 1751, died 1801. 
Working freely on Guarneri's large model, he pro- 
duced sort of 'variations" on Guarneri del Gesii, as 
he experimented a great deal, e. g., with the position 
of the sound-holes. The wood he used is not always 
flawless, but the scrolls and sound-holes are beauti- 
fully cut, the edges and the purfling finished with 
delicate taste. The best varnish he used is the red- 
brown, whereaa the yellow and dark brown varnishes 
are drier and less supple. The back is sometimes of 
a lighter shade than the belly. Best are the works he 
created in 1775 — 1795 which have often been ficti- 
tiously marked with Guarneri's labels. Outstanding 

rich tone. ^ ^- n^ •■ -- 

Laursntius Storioni Cremonensis 

fecit Anno 17 . . 

Laurentius Storioni restauravit 
Cremonae 1770 

Laurentius 5torioiti fecit. 
Crenionrc i 7J?*»% 


t 1478 

t 1397 

Bonino . , 

t 1422 


Jo. Andreae . , 




I Augustine 

1422, 1 1468 
(Margherita -| 



Jo. Battista 








Giulio Cesare 





Giuliano . . 

( Balzarino . 



t 1647 

t 1698 


t 1737 

* 1737 


Giovanni ? 

t 1707 


t 1670 


t 1743 


t 1748 


t 1732 

Felice 1679 

t 1742 

t 1720 


B. Guiseppe 

t 1702 


B. Martino 

t 1727 


t 1761 


t 1775 



1. (Giulia 

t 1828) 

2. (Bonazzi 



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Delia Noce) 






t 1869 











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280. Gialdi: Antonio Stradivari, 1691 


281. Cremona ca 1700 

282. Cremona: Piazza di S. Domenico 3 

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Stradivari Antonio, Cremona. Born 1644, died Dec 
18, 1737. He was the son of Alessandro Stradivari 
(b. Jan. 15, 1602) and Anna, b. Moroni. The name 
of his forefathers was originally Stradiverti or Stra- 
diverdi. They were a patrician family which had 
resided in Cremona for a long time (as early as 1127 
a Stradiverdi is being mentioned as a "senator 
patriae" ). Stradivari also had several lawyers among 
his ancestors. The year of his birth (1644) has been 
determined on the basis of his own assertion: into 
a violin of 1737 he inscribed the words "d'anni 93", 
i. e., at the age of 93 years. Stradivari married for the 
first time, on July 4, 1667, Francesca Ferraboschi, 
b. in 1640, who brought into this marriage a four- 
year-old daughter (the father's name was Capra). 
By Stradivari she had four sons and two daughters 
(Francesco, b. Feb. 6, 1670, d. Feb. 12, 1670; Fran- 
cesco, b. Feb. 1, 1671, d. May 11, 1743, a viohn 
maker; Alessandro, b. May 25, 1677, d. Jan. 26, 1732 
a priest; Omobono, b. Nov. 14, 1679, d. Apr. 8, 1742, 
allegedly also a violin maker; Giulia Maria, b. Dec. 
23, 1667, who married, on Dec. 21, 1688, the notary 
public Giov. Angelo Farina and d. Aug.7, 1707; Cata- 
rina, b. Feb. 18, 1674, who remained single and d. June 
17, 1748). Stradivari's first wife died on May 25, 1698. 
On Aug. 24, 1699 he entered into a second marriage 
with Antonietta Zambelli, by whom he had five chil- 
dren (Giov. Battista Giuseppe, b. Nov. 6. 1701, d. 1702; 
Giov. Batt. Martino, b. Nov. 11, 1703, d. Nov. 1, 
1727; Giuseppe, b. Oc. 27, 1704, d. Dec. 2, 1781, as 
priest; Paolo, b. Jan. 26, 1708, a merchant, d. Oct. 17, 
1776; and Francesca, b. Jan. 17, 1700, who died 
unmarried on Feb. 11, 1720). Descendants of A.Stra- 
divari live in North Italy to this day. The master's 
likeness has been preserved only on a miniature 
painted by Gialidini in 1691; a verbal description 
was given by the violin virtuoso Folledro in Turin 
(1781 — 1853) who alleged that his old teacher, who 
had known Stradivari personally, had described him 
as a tall lean man who used to wear a white woolen 
cap and, when working, a white leather apron. In 
1680, he bought off the brothers Picenardi, for 7000 
lire imperiale, a house in St. Domenico Square, now 
Piazza Roma No 1, which was destroyed in 1889. 
Stradivari was buried in the Rosary Chapel of St. 
Domenico's Church at Cremona, where he had 
bought a family vault as early as in 1729. His tomb- 
stone can be seen in the town hall of Cremona. 

Much information on Stradivari has been drawn 
from the labels contained in his instruments, from 
some notes which Stradivari wrote about himself, 
further from the valuable memoirs taken down by 
count Cozio di Salabue (1755—1840) and marquis 
Orlando della Valle, both of them well-known col- 

lectors. The works created by him in the years 1( 
— 1670 provide evidence that he was a pupil of Nic. 
Amati and that he left Amati at that time. The Paris 
violin maker Francis Chanot had an autograph of 
Stradivari reading as follows: "Made at the age of 
13 years in the workshop of Nicola Amati." He is 
alleged to have become Amati's pupil when only 
eleven years old. 

Stradivari's diligence is proved by the number of 
instruments he made. His ingenuity is evident in each 
and every genuine specimen. His instruments were 
in high favour already during Stradivari's lifetime. 
No wonder that Stradivari was overwhelmed with 
orders from the middle-classes, noblemen and even 
from reigning families throughout Europe. 

Violins were sold by him at 4 louis-d'or apiece 
at the lowest. In this way be acquired considerable 
wealth, so that the saying "as rich as Stradivari" be- 
came current at Cremona. Stradivari's invention in 
drawing is borne out by the various ornaments on 
some instruments, (e. g. the Hellier and Greffuhle 
violins), and by the remarkable collection of draw- 
ings of emblazonry for the Grand Duke of Medici, 
of the year 1690 in the Regio Instituto Musicale in 
Florence, which bear Stradivari's inscription reading 
as follows: 

"Armi che ho fatto per li istrumenti per il Gran 
Principe di Toscana" (Coat-of-arms I have made for 
the instruments of the Grand Duke of Toscana). 

Further drawings are preserved in the Dalla Valle 
collection. Unique is the decoration which adorns the 
sides and scroll of the above-mentioned Hellier violin 
built in 1679. His firm and steady hand is proved 
also by a peculiarity of his, a fine black line, thin as 
a hair, which is drawn along the salient parts of the 
scroll and the joints of the sides. This line has almost 
disappeared since it was drawn in exposed places, 
but on close examination traces can still be discov- 
ered, especially where the sides are glued together. 

The number of instruments built by Stradivari 
during his lifetime is estimated at no less than 3,000 
violins. Nowadays there survive about 540 violins, 
12 violas of large pattern which are, for the most 
part, excellent, but do not differ so much as the 
violins. About 50 'cellos are known, in two sizes. The 
backs of the older 'cellos and contrabasses are of 
poplar wood. Preserved are also 5 contrabasses, one 
guitar, one viola da gamba, one bass-viol, one pan- 
durina, 3 mandolins, one zither, one pochette. Some 
of the instruments built by Stradivari, in 1687, for 
the royal court of Spain (6 violins, 2 violas and a 'cello 
still exist in various states of preservation) have 
also beautiful tarsia adornments. Stradivari chose 
for his instruments a peculiar kind of pine wood 


which he spUt in a manner of his own so as to obtain 
an excellent resonance. Maplewood was worked by 
him in a similar way. Pine, although very light, is 
tough and not only easy to split, but also easy to peel. 
The wood was probably taken from a particular 
group of trees. Stradivari did repairing work, too; 
this is proved by a label contained in a viola: Cor- 
retto da me Antonio Stradivari. 

Stradivari's work can be divided into four periods: 

I. The Amati period or the years of growth, 1665 — 
1685. All creations of that time are worked on the 
pattern of Nic. Amati. At a later stage, he carved 
the scrolls in his own fashion, cutting them deeper 
and widening their shape. For the belly he used light 
pine-wood with clear grain which is not of a parti- 
cularly beautiful appearance, but has good tonal 
qualities. The backs are made of fine maple wood, 
showing the smooth sheen which is constituted by the 
grain of the maple. Stradivari reduced the arching 
to 14—15 mm, as compared with Amati who used to 
arch his violins up to 20 mm, for he was well aware 
that a lower arched instrument would have a more 
powerful tone than an instrument with high arching. 
He applied at this time a golden-yellow, golden-red 
or amber-coloured varnish. 

From this period survive: the "S. Agata" violin, 
built in 1665, the first known work bearing Stradi- 
vari's label; another violin built in Nic. Amati's 
workshop in the same year; a violin labelled: Anto- 
nius Stradivari, Alumnus Nicolaj Amati faciebat 
anno 1666; four violins of the year 1667; one violin 
built in 1668; two violins of 1671; the inlaid Hellier 
violin of 1679; 1680, the "Selliere", which was ex- 
hibited in the town of Cremona in 1937; five violins 
of 1683, among them "The Webster" and Josef 
Suk's violin; 1684, five violins, including the "Pres- 
sardi"; 1685, six violins; and the so-called "Floren- 
tine" violin, built in 1684. Of the violas of this period 
two specimens are preserved, built in 1677 and 1685 
respectively. The 'cellos are represented by three 
specimens of 1677, 1684, and 1685, which were built 
to the order of the Spanish duke Natalona. 

II. The time of experiments: 1686 — 1694. During 
this period Stradivari reduced the arching, modified 
the sound-holes and situated them in a slightly more 
reclining position. The bouts, between which the 
bridge stands, are broader, their corners longer. The 
resonance-box is enlarged, the scroll more worked 
in detail and appears bigger. The varnish coating 
violins whose back is made of one piece, is golden- 
yellow of various tints, darker or lighter. For violins 
whose back is made of two pieces, he often used a 
light-red varnish. The narrow purfling is beautifully 
finished. About 1693, Stradivari modified his pat- 

tern, reducing the width of his violins and making 
them a little longer. Thus the "allonge" pattern came 
into being. At the same time the colour of the varnish 
also changes, becoming amber-yellow or light-red, 
but always keeping its transparence and wonderful 
lustre. The "allonges" match in beauty of tone the 
other violins, having the same velvety blend of sounds 
and a clear tone with deep resonance underneath 
the G-string. 

Notwithstanding the differences of the successive 
models, their tone is always good, which proves the 
greatness of this master's art. In 1687, Stradivari 
produced, for the royal court of Spain, a quartet 
inlaid with mother-of-pearl and ivory. One violin of 
this quartet belonged later to the virtuoso Ole Bull. 
At the same time pochettes, adorned in a similar 
manner, came into being. This is the time when Stra- 
divari's renown began to spread; he was working 
for the courts of Toscana, Spain, Modena, for king 
Augustus of Poland, for the duke of Alba and others. 

From that time about 40 violins are known, among 
them "The Avery" of the year 1688; the first Stradi- 
varius of J. KubeUk, dated 1687; "Mercur" of 1688; 
the famous "Tuscan" violin of 1690; the so-called 
Medicean violin bearing the following inscription: 
"Prima 20 ottobre 1690 per S. A. da Fiorenza"; 
the "Fetzer" violin, built in 1694; 5 violas, two of 
which were built in 1690 for the Grand Duke of 
Toscana, and the "Medici" viola, belonging to the 
"Medico di Toscana" quartet. Eleven 'cellos are 
known, among them the "Medico" 'cello built in 
1690; "Mary le Bon", 1688; "L'Eveque", 1689, 
"Bonjour", 1692, and, finally, the violoncello of Co- 
simo of Medici which bears the following inscrip- 
tion of Stradivari: "Misura Giusta per il Tenore de 
occhi fatto apposta per il Gran Principe de Toscana. 
Adi 4. Ottob. 1690." (Correct measure for sound- 
holes of a 'cello made especially for the Grand Duke 
of Toscana on Oct. 4, 1690.) 

III. The golden period 1695-1725. With rich 
experience, after many experiments, the master at- 
tained, already 56 years old, what he had striven to 
achieve. He had succeeded in combining the powerful 
tone of the Brescian instruments with the enchanting, 
clear and sweet sound of the Cremonese Amatis. 

His instruments now have widened outlines, the 
faultlessly regular arching forms elegant lines. The 
material is very carefully selected, the scrolls, less 
deeply carved than those of the previous period, 
but sufficiently large, are executed in a clean and 
delicate manner. The golden-yellow varnish is of 
matchless quality, of delicate, high lustre; it is often 
provided with a further coat of bright red varnish 
which appears a little brownish today. Some 


superb specimens are (or were) dark red. All in- 
struments are finished with the same perfect work- 
manship, although deviations occur in the thickn3ss 
of both back and belly, in the rounding-off of the 
shape and in the position of the sound-holes; as to the 
tonal quality they are always magnificent. It is the 
tonal quality that bears out Stradivari's sure judg- 
ment, musical insight and outstanding knowledge 
of materials. He now selected light wood with beauti- 
ful grain, and it is not a mere chance that both 
belly and back show thin lines which cross the joints, 
meeting there accurately, and are interlaced, thus 
forming a kind of natural design in the wood. The 
belly varies in thickness, which is mostly 2.4 mm — 
2.8 mm, sometimes even less. The back is made of 
flawless maplewood; its thickness varies to a great 
extent, attaining as much as 6 mm. The arching 
of the back is 14—15 mm. The height of the sides 
measures usually, at the very least, as much as 
the archings of belly and back taken together, i. e., 
28—30 mm. Greater care was often bestowed by 
Stradivari on the execution of the inside work than 
on finishing the outside of instruments, and with 
good reason he made the corners and the lining 
inside his violins of light willow wood. The bass-bar 
was originally thin and suited then the requirements. 
It has been replaced since, in order to stand the 
increased pressure, but some experts today are again 
in favour of a low bass-bar. The beautifully shaped 
sound-holes are cut with delicate taste and still show 
traces of Amati's school. Their upper parts are in- 
clined towards each other reducing slightly the dis- 
tance between the upper ends. The purfling, inserted 
at a distance of 4 mm from the edge, is finished in 
a masterly manner. 

This model is characterized by the widening of the 
upper and lower parts and a slightly narrower 
middle part between the bouts, a most graceful de- 
sign. The bouts are in their middle part only slightly 
curved and part of them appears almost as a straight 
line; consequently, the corners seem to protrude and 
are rather broad. The weight of the resonance body 
without neck and scroll is 260 — 280 grammes. In 
individual cases we observe slight deviations which, 
however, do not change the characteristic timbre of 
Stradivari's tone. It was to suit the quality of mate- 
rial that he adopted these modifications. From this 
period are known about 200 violins, ca 10 violas 
and more than 30 'celli. Among these violins are the 
"Vornbaum" violin, built in 1696, the "Longuet" of 
the year 1699, "Lady Tennat" of 1699, "Wondra- 
Bey" of 1702, "Montbel" of 1703, "Emiliani" of 
1703, "Viotti" of 1704, "Betts" of 1704, "Castelbar- 
go" of 1707, "Rubin" of 1708, "Greffuhle" of 1709, 

"Ernst" of 1709, "La Pucelle" 1709, "Campofelice" 

1710, "Vieuxtemps" 1710, "Ries" 1710, "Parke" 

1711, "Dancla" 1711, "Sancy" 1713, "Boissier" 1713, 
"Gibson" 1713, "Delphin" 1714, "Wedling" 1714, 
"Budapest" 1715, "De Barnau" 1715, "Gillot" 1715, 
"Alard" 1715, "Lipinski" 1715, "Emperor" 1715, 
"LeMessie" 1716 — the best preserved, almost intact 
violin by Stradivari, "Ceosol" 1716, "Goldmann" 
1716, "Saserno" 1717, "San Lorenzo" 1718, "He- 
gar" 1718, "Maurin" 1718, "Alba" 1719, "Conte de 
Villares" 1720, "jansa" 1721, "Rode" 1722, "De 
Chaponay" 1722, "Rolla" 1722, "Sarasate" 1724, 
"Brancaccio" 1725. Among his violas are worthy 
of notice "Archinto" 1696, and "Macdonald" 1701. 
'Cellos of this period: "St. Senoch" 1698, "Christi- 
ani" 1700, "Servais" 1701, "Duport" 1711, "Mara" 
1711, and "Batta" 1714. 

IV. Old age works. 1726—1737. In the last epoch 
of the master's life a decline of strength is evident, 
the steadiness of his hand was relaxing and his help- 
ers'share in the work was probably greater. These 
works are still outstanding for their rich tone, but 
they lack the flawless perfection of those built in for- 
mer times. The varnish of these instruments is more 
brownish and not quite so transparent as that 
applied before. Some instruments of this time are 
marked with the inscription "sub disciplina" or 
"sotto la disciplina di Antonio Stradivari", which 
points to the fact that the master knew these minor 
deficiencies of his works and made strenuous efforts 
to maintain, at any cost, the high level of his works. 
Some of his instruments, with original neck, bear 
the initials "A. S." or "P. S." on the neck-plate. The 
legitimacy of the first monogram is quite obvious; 
the second, however, was made on the order of 
Antonio's son, Paolo Stradivari, who inherited his 
father's estate and had his own monogram inscribed 
on the violins bequeathed to him. 

From this period still exist about 50 violins, ca 
5 violas and ca 15 violoncellos. 

Among these violins are included: the "Greville" 
(Greffuhl), 1726, "Deurbroucq", 1727, "Kieswet- 
ter", 1731, "Hercules", 1732, "Arkwright", 1732, 
"Nadaud", 1734, "Talbot", 1734, "Muntz", 1736, 
"Lord Norton", 1737, and "The Swan Song", 1737, 
which bears the inscription "d'anni 93" (at the age 
of ninety three years). Among the violas is note- 
worthy the "Gibson", built in 1731, among the 'celli 
the "Murray", 1730, "Pavie", 1730, and "Da Ve- 
nezia" (without date). 

After Stradivari's death, his sons Francesco and 
Omobono took the management of the workshop 
into their own hands. In matters of violin making 
they were probably aided by Carlo Bergonzi. After 


the death of the brothers, Carlo Bergonzi took their 
workshop on lease in 1746, and Paolo Stradivari, 
Antonio's son and heir, lent Bergonzi models, moulds, 
gauges and tools of his father. In 1774, Paolo Stradi- 
vari offered, besides a rather considerable number 
of tools of his father and his brother Francesco, the 
whole estate for sale to the town of Cremona. The 
town could not afford to pay the demanded sum, and 
this made Paolo so angry that he resolved not to 
leave the property to the town. 

In 1775 he received an offer from the firm Gio- 
vanni di Anselmi Briatta e C, merchants of Casale 
Monferrato, who earlier had already bought ten 
violins by Antonio and Francesco. Of this trans- 
action as well as of the character of Paolo Stradi- 
vari the style of a letter, preserved at the municipal 
museum of Cremona, gives proof; it reads as follows: 

"Dispensing with formalities, I am writing to the 
point in a business-like way. I understand from 
your esteemed letter dated 13th ult. that you offer 

5 ducats for all patterns and moulds which I hold 
in my possession as well as for those which were 
lent to Bergonzi, and for the iron tools from my 
late father's workshop; but it is too little. To show 
you, however, my goodwill to do you a good service, 
and because I wish that nothing of my late father's 
property should remain at Cremona, I am ready to 
let you have the whole lot for 6 ducats on condition 
that you pay at once to Messrs. Domenico Dupuis 

6 Sons, silk-footwear makers, and I shall send you 
all the things quoted above, on the understanding 
that I am to receive 5 ducats, and shall use the 
balance to defray cash expenses, packing and custom 
duties incurred during the transport of the above- 
said goods; for any other expenditure I shall 
reimburse myself on Mr. Dupuis. On the other hand 
you shall pay Mr. Dupuis 7 ducats in return for my 
defraying all disbursements; in addition I shall hand 
over to him the bows which I have in my keeping." 

The transaction was performed, but in 1776 the 
whole Briatta collection, including the violins, came 
into the possession of the well-known collector Count 
Cozio di Salabue. After the count's death the col- 
lection was inherited by Marquis Orlando Delia 
Valle di Torino, who assembled many further items 
and provided them with historical and technical 
notes. This abundant material, known under the 
name Collezione Salabue, remained in the family 
until the year 1905. 

The violin maker Fiorini, who was keenly inter- 
ested in the collection, then offered Marchioness 
Delia Valle 100,000 Hre for it Feb. 6, 1920). The 
lady rephed on Feb. 8th as follows: 

"I have received your letter, and it is good that 

you have written. You will pay 100,000 lire and in 
return you will receive the whole collection which 
you know well and which we have discussed in our 
letters. As a guarantee that the transaction will be 
carried out in a fair manner, you will hand over 
to me (as you have promised in writing), 20,000 lire 
plus 80,000 lire in cheques payable at the Banca 
di Sconto of Turin at the time when you take over 
the collection, which I shall keep with me, as I have 
done heretofore, until the rooms in Florence are 
ready to receive it for sake-keeping. Yesterday I 
happened to receive an offer of 120,000 lire from 
a man with whom I had been discussing the sale 
of the violins, but who had not been heard of for 
some time. I replied, of course, that it was too late, 
and I do not regret the fact that this unrealized 
negotiation would have turned out more lucrative. 
The violins would have been taken to France and 
would not have remained in the school of violin 
making in Florence to which you have assigned 
them in accordance with Count di Salabue's wish." 

Fiorini's plans to open a school for the art of 
violin building (first in Florence, then in Bologna) 
did not succeed. Affected with a serious eye-disease, 
he attempted to find room for the memorial relics 
in Rome and later in Turin, again in vain. At last 
he decided to present the whole collection to the 
museum of Cremona. The terms of the donation are 
contained in a letter he wrote to the Museum on June 
4th, 1930: 

"On the 2nd inst. I forwarded to your address, by 
railway, a parcel of 9,15 kg net weight, and yester- 
day, i. e., on the 3rd of this month, another parcel 
of 5,65 net weight by registered post. The first con- 
tains 20 patterns of instruments, further a packet 
of curves, and wooden models. The second parcel 
comprises 9 packets which I now specify: No. 1. 
old tools for violin making; 2. old iron com- 
passes; 3. a wooden fork for fitting the sound-post; 
4. models of bridges; 5. (not specified); 6. models 
of violin-cases; 7. (not specified); 8. wooden wedges 
(which Stradivari used in making violin-plates); 
9. cardboard models for violas. I presume that the 
things will be in your possession by the 10th of this 
month and trust that they arrive in good condition. 
The rate charged for the conveyance of the con- 
signment to destination has been prepaid and the 
custom-house should impose no duty as all these 
things are old. Should you, for all that, incur any 
expenses on receipt of the parcels, I shall refund 
them. These parcels comprise but a part of my 
collection of Stradivari treasures. The remainder 
I shall bring personally to Cremona about the 15th 
inst., unless there be some unforeseen hindrances." 


The complete collection comprises 1303 items, 
i. e., 475 paper models, 410 wooden moulds, 13 mod- 
els of mother-of-pearl, 10 wooden implements, 
46 iron implements, 8 wax seals, 11 sheets of draw- 
ings designed for Count Cozio di Salabue, 4 strips 
of paper measures made by Cozio, 14 books of 
manuscripts by Cozio, among them an inventory of 
the instruments once owned by Count Cozio (some 
of these books rather bulky), 232 sheets of manu- 
scripts and various autographs, among them letters 
of Paolo and Antonio Stradivari, son and grandson 
of the famous master, further letters to violin maker 
Giov. Battista Guadagnini of Cremona by Giovanni 
Antonio March of Bologna, Giuseppe Baccheta of 
Brescia, and other persons concerning the sale of 
stringed instruments and their construction, and 
finally 80 sheets of printed labels. In addition to 
these items donated by Fiorini, the museum has 
several hundred other pieces presented by heirs of 
the Cerutti family and other citizens of Cremona. 
The museum is located in the New Town Hall of 

We show photographs of show-cases where the 
treasures are kept, as well as a reproduction of 
Stradivari's portrait and a picture of S. Domenico 
Church, where Stradivari was buried. Now his 
earthly remains are entombed in a common vault, 
situated on the south-eastern side of Piazza Roma, 
where in 1937, on the 200th anniversary of Stradi- 
vari's death, visitors laid roses at the obelisk. 


ensions of some violins of Antonio Stradivari: 




C Xi 


1667 352 
1667 (ladies size) 350 




1679 Hellier 




1690 Tuscan 



























201 - 
183 - 

200 - 
205 - 
201.5 108 
213 - 
199.5 105 
208 110 
205 107 
207 - 

201 - 
202.5 106.5 
201 - 
207 109 
207 - 
210 - 



33 33 

29 31 

30 31 
28 30 

30 31 

28 30 

30 30 

30 32 

28 30 

30 31 





+j a 

O) CO 

C £i 





Betts 357 
Vieuxtemps 357 
Brancaccio 354 
Greffuhl 354 
Hercule 359 

























































































Period I 
Period II 

478 220 273 

413 187 243 

480 220 273 

410 186 243 

405 198 241 

410 185 240 







109 - - 

- 30 31 

108 - - 

109 - - 

- 30 30 
109 - - 

30 31 

30 31 

30 31 

30 31 

31 31 

109 - - 

107 - - 

- 30 30 

- 30 31 

- 30 31 

- 30 31 

- 30 30 
30 31 

32 32 

29 31 ■ 

30 31 
30 31 
30 31 
30 31 

- 30 31 

- 29.5 31.5 

- 29 30 

- 30 31 

- 30 31 

- 30 31 
109.5 30 31 

- 32 33 

- 32 32.5 

- 32 32.5 

- 30 31 

- 30 31 

40 43 

39 40 

40 43 
38 39 
45 46 
38 39 




O) (0 










Upper sid 
Lower sid 






120 120 






114 121 






121 121 






111 114 






125 125 






117 124 






124 127 






117 121 

without date 





118 119 

Stradivari Francesco, Cremona, Born Feb. 1, 1671, died 
May 11, 1743. Son and pupil of Antonio Stradivari. 
After his father's death he continued to run the shop 
in company with his brother Omobono. His works 
are imitations of the large violin model of his father 
in 1708; they have a very good, powerful tone, 
though lacking the careful finish of instruments 
built by his father. Violins by Francesco have broad 
edges, their purfling is not so handsome, the sound- 
holes are upright, rather open after the Amati 
brothers' fashion and the right sound-hole is in a 
more inclined position. He applied orange-yellow 
varnish, which is of fairly good quality, but falls 
short of that used by Antonio. The scrolls of his 
instruments are beautifully carved. Even without An- 
tonio, Francesco would have become very famous. 
Price 160.000 Kc; some of his instruments fetched, 
however, as much as 320.000 Kc. 

Franciscus Stradivarius sub disciplina 
A. Stradivari 1700 

Frandfcu5 Stradivarius CremoDenCs 
Filiiis AutoDii facicbac Anno tj^^ 

Stradivari Omohono, Cremona. Born at Cremona Nov. 
14, 1679, died at the same place on June 8, 1742. 
The Hill Brothers stated in their great work that 
they had never seen a violin by Omobono Stradi- 
vari, inferring that Omobono had not been a violin 
maker at all. We are inclined to share this view, 
because neither correspondence nor bequests men- 
tion any instruments by Omobono. They constitute 
most reliable documents, for some of them come 
from the time when the sons of Stradivari were 
still alive. Paolo, the most agile businessman, though 

not the most prudent member, of the family, did 
not mention anywhere instruments by Omobono, 
although he wrote about sales of violins and bows 
of his deceased father and brother Francesco. It 
is improbable that there should not have been left 
a single instrument by Omobono, although he died 
a year earlier than his brother Francesco; or is it 
to be supposed that Francesco provided them with 
his own name? 

It is generally stated that he was Antonio's son and 
pupil. The brothers Francesco and Omobono are 
alleged to have assisted their father and, after 
the latter's death, to have continued working to- 
gether. Omobono is said to have built instruments 
far inferior to those created by the former two and 
to have devoted more of his time to repairing work 
than to the making of new instruments. The arch- 
ing of his instruments (which Hill considers as 
fakes, although they are marked with Omobono's 
name) is imperfect, the sound-holes are of no parti- 
cular beauty, the rather deep cut scrolls, however, 
are well done. The instruments are coated with 
a golden-yellow varnish of a quality inferior to that 
applied by his father and brother. As for the tone, 
these violins also do not meet demands associated 
with the name. The price of 120.000-150.000 Kc 
is, therefore, certainly exaggerated. 

Homobonus Stradivarius 
sub disciplina A. Stradivari 1725 

Strati Michael, Verona, ca 1792. He imitated, with 
careful workmanship, Guarneri, Stradivari and the 
French school, used good wood and applied yellow 
varnish. The edges of his instruments are sharply 
bevelled, the gracefully cut sound-holes designed in 
a slanting position. 

Michael Strati 
Verona 1792. 

Straub Michael, Venice. 1670—1680. Little known 

violin and lute maker. 

Michel Straub in Venezia 1680. 
Strauch Matteo, Modena. 1640. Little known lute 

maker; probably a German settled in Italy. 
Suover Giovanni, Florence. 1637. Lute maker. 


Tacconi Enrico, Rome. 1884. Mandolin maker. 

Tadolini Giuseppe, Modena, Bologna. Born about 
1796, died 1870. Probably a music master teaching 
'cello and contrabass; later maker of stringed in- 
struments who built chiefly 'cellos and contrabasses. 

Tachinardi, Cremona, ca 1690. His instruments re- 
mind one of Andrea Amati's works. 

Tadolini Ignazio, Modena. Born 1797, died 1873. — 
Brother of Giuseppe Tadolini. Maker of guitars, 
pianos and good bows. 

Taffelli Alessandro, Mantua. 1619. Lute maker. 

Tanegia Carlo Antonio, Milan. 1725—1731. Worked 
on the pattern of Grancino, with less skill. Price 
16.000 Kc. 

■ CarcHus A ntonius Tanc?»a 
! fecit in Viz Laia Medio;- i 

lanf Anrio 17^^ y" 

i_ ^ ^' .,.„„_„ , _„^ 

Tanigard (Tanigardi) Giorgio, Rome. 1735—1750. 
Worked, very skilfully, on the outlines designed by 
Tecchler, making the archings like Jacob Stainer. 
The wood is good, the purfling delicately finished, 
the scrolls carved in a graceful manner. He applied 
a fine golden-yellow and red-brown varnish. Best 
are his 'cellos. Price 20.000 Kc, 'cello more. 

Giorgius Tanigardus 
fecit Romae anno 1735 

Giorgio Tanigardi 
fecit Romae anno 1745 

Giorgio Tanigardi 
fecit Romae 17 . . 

Gio Giorgio Taningard 
fecit Romse Anno 1745 

Tantino Costantino, Modena. 15th cent. Known only 
as teacher of his son Giovanni Tantino. 

Tantino Giovanni. 1475. Ancient lute maker, son and 
pupil of Costantino Tantino. 

Tantino Sesto, Modena. 1461 — 1490. Brother of Gio- 

Tarasconi Carlo, Rome, ca 1903, an amateur. 

Carolus Tarasconi 
No. 36 fecit Romae 1903 

Tarasconi Giuseppe, Milan. 1888—1908. He chiefly 
traded in violins. His own instruments lack the sure 
touch of a master. 

Giuseppe To rasconi 
Saratwo - IMtliwo rJnno 


Tarasconi Mirco, Milan, Paris. 20th century. Son of 
Giuseppe Tarasconi and pupil of Bernard of Liege, 
E. Laurant of Brussels and Ornati of Milan. 

.M r. 


^^irco 'tarasconi ' 
Saronno - S^ilano Jlnno fyj^ 

Targhetta Carlo, Mantua. 16th -17th centuries. Little 
known violin maker. 

Tarotanus Antonius, Novara, ca 1623. The maker of 
an orange-coloured violin, adorned on the back with 
French lilies, with the belly flatter than the back, 
was a monk, a good amateur, equalling in tone and 
workmanship good Italian masters. 

Tartaglio Francesco, Stroppiana, Biella (Modena). 
Lived about the end of the 19th century. Good instru- 

Tassini Bartolomeo, Venice. 1740—1756. Worked on 
the large, broad model of Stradivari as well as in 
the style of Carlo Antonio Testore, but in a less 
skilful manner. Instruments of graceful outlines, 
arching executed in a beautiful manner, sound-holes 
carefully cut, excellent resonant wood. The back is 
often made of one piece. He used varnish to suit the 
model he imitated. Price 40.000 Kc. 

Taus Andreas, Siena, ca 1621. Little known violin 

Opait, ^ 


T'ecchler Andreas, Rome, 1748. Son of David Tec- 
chler. Worked very carefully. The wood of his in- 
struments, especially on the back and sides, is fine. 
He applied a golden-yellow varnish. The sizes of 


a 'cello by him are as follows: length 764 mm, upper 
width 340 mm, middle width 240 mm, lower width 
430 mm. Price 30-40.000 Kc. 
Tecchler Antonio Hieronymus, Rome. 1735 — Very 
good workmanship. Chestnut-brown varnish. In the 
collection of the Prague Loreto Church, there is 
a violin labelled as follows; 

Antonius Hieronymus Tekler 
Davidis Nepos Lautaro fecit 1735 

Tecchler David, Venice, Rome. Born about 1666, died 
1743. — Built instruments on the large pattern of 
Amati, the arching is made, however, in the fashion 
of Stainer. The corners are elongated in a character- 
istic way, the scrolls gracefully carved: the rather 
broad purfling is well finished; the small, adequately 
open soundholes are designed according to Stainer. 
He selected wood of fine appearance, applied a won- 
derful yellow or yellow-red varnish of excellent 
quality; the 'cellos are red-brown or dark red. His 
broad contrabasses are likewise very good. He 
was an assiduous master and left a considerable 
number of instruments. Singular is a viola which is 
rather broad, with the arching of the belly spreading 
in a graceful manner over the whole surface of the 
plate, the sides glued to the very edges of the tables 
(as it is usual in contrabasses), the short sound-holes 
gracefully rounded off, while the back is flat, without 
arching, made up of 9 strips like that of a guitar. 
This instrument does not sound like a viola, but has 
a deep bass tone. Price of violins 50 — 80.000 Kc. 
a 'cello far more. 

David Tecchler Liutaro fecit 
Romae 1703 

David Techier 
fecit Romae 1710 

David Techier fecit 

an Dni 1743 

aetatis suae 77 

David Techier Liutaro 
fecit Romae An. D. 17 . . 

David Dechler fecit 
Rom 1710 

David Tecchler Fecit 
RotngAnnoDni 172/ 

ecit ft^msrAisgx lyg-^^] 

Tedescu Leopoldo il (i. e. Leopold the German) Rome. 
Born about 1625, no works after 1658. Pupil of Nic. 
Amati, worked on the lalter's pattern but fell short 
of his master's art. Price 20.000 Kc. 

Telesi Senofonte, Ostiglia (Mantua). Exhibited a violin 
at Cremona in 1937. 

Tenzel Benedict, Naples, 1717. Little known master. 

Teodoti Giovanni, Rome, 17th century. — Probably 
the father and teacher of Girolamo Teodoti. Violin 
and lute maker. Worked on the pattern of Stainer 
and repaired stringed instruments. 

Teodoti Girolamo, Rome, 17th century, a follower of 
David Tecchler. 

Termanini Giuseppe, Modena. 1755— 1773. He worked 
well, but did not attain the quality of the instruments 
built by Pietro Termanini. The tone of his instru- 
ments is soft, but without power. Probably Pietro's 
brother and collaborator. 

D. Joseph Termanini 
fecit Mutinae a: 1755. opus No 5 

Termanini Pietro, Modena. 1755— 1773. Developed his 
own model; his violins are of a long shape, rather 
high arching, have long bouts, short corners. Very 
fine wood, medium quality workmanship. He applied 
a hard yellow-brown varnish. With regard to the 
tone his instruments are fairly good, decidedly better 
than those of Giuseppe Termanini. 
Price 12-16.000 Kc. 

Terrana Gerlando, Milan, b. Feb. 26, 1909 in Naples; 
instruments with yellow or orange varnish. 

T Gerlandus Terrana 
G Neapolitanus Mediolani 

Testator, called "II Vecchio", Milan, 16th century. 
Little known, said to have made small instruments, 
(certainly not violins). 

Testore Carlo Antonio, Milan. Born about 1688, died 
after 1764. Son and pupil of Carlo Giuseppe Testore. 
His works differ from those of his father by their 
larger pattern and higher arching. He worked on 
the models of Nic. Amati, Guarneri del Gesu and 
occassionally on that of Stradivari. The wood he used 
is very good. He applied a golden-yellow varnish. 
The tone of his instruments is powerful and of good 
quality. Valued instruments. Price 45 — 50.000 Kc. 

Carlo Antonio Testore figlio maggiore 

del fu Carlo Giuseppe in Contrada lar 

ga al segno dell'Aquila Milano 1710 

Testore Carlo Giuseppe, Milan. Born 1660, died 1737. 
Pupil of Giovanni Grancino. Worked on the models 
of Nic. Amati, Guarneri, Gofr. Cappa and Ant. Stra- 
divari. Each specimen, however, is distinguished by 


a peculiar touch of its own; the arching reminds of 
Nic. Amati. The wood is not always fine-looking; the 
back is often of pear wood, but always finished with 
care. The purfling is rather broad, the delicately 
carved scrolls often too small. The faultlessly ap- 
plied varnish is golden-yellow, brown-yellow or red- 
yellow. As far as the tone is concerned, his works 
constitute outstanding concert instruments, particu- 
larly his contrabasses and 'cellos which are coated 
with a red-brown or hard red varnish. Price 40 — 
75.000 Kc. Length of violin with neck 588 mm, length 
of belly and back 355 mm, middle width 109 mm, 
height of sides 29 mm. Another violin of his making 
has a table length of 356 mm, upper width 168 mm, 
middle width 110 mm, lower width 205 mm, length 
of head 105 mm. (The Testore family is headed by 
Carlo Giuseppe (1660—1737) whose sons were Carlo 
Antonio (1688-1764) and Paolo Antonio (1690- 
1750). Giovanni Testore was a son of Carlo Antonio 
and Gennaro son of Paolo Antonio. All of them lived 

in Milan.) „ , _. „ . . „ 

Carlo Giuseppe Testore in Con 

trada Larga di Milano 

Segno dell'Aquila 1690 

Carlo Giuseppe Testore, allievo 

di Gio Grancino in contrada 

larga di Milano 1690 

Carlo Giuseppe Testore in Con- 
trada larga di Milano al 
segno dell aquila 1700 

Testore Gennaro, Milan, 1767. Son of Paolo Antonio 
Testore. Conscientious master. The wood he used is, 
however, not of best quality; the backs are for the 
most part of poplar wood. His instruments possess 
high sides and are coated with a dark-brown varnish. 
Dimensions of one of his violas: length with neck 
690 mm, length of belly and back 425 mm, upper 
width 195 mm, width of centre 135 mm, lower width 
235 mm, top sides 43 mm, bottom sides 41 mm. It is 
characteristic that he made the top sides higher 
than the bottom sides, whereas with other Italian 
masters it is always the other way. 

Genaro Testore figllo 
del fu Paolo 1767 

Testore Giovanni, Milan. 1764. Son of Carlo Antonio 
Testore. His instruments are of very good finish and 
have a sweet, well-balanced tone. 

Carlo Antonio e Giovanni Padre e figlio 
Testori, il qual Carlo e figlio Maggiore 
del fu Carlo Giuseppe Testore, abitanti 
in Contrada larga al segno dell aquila 
Milano 1764 

Testore Paolo Antonio, Milan. Born about 1690, died 
after 1750. Son of Carlo Giuseppe Testore. Produced 
cheaper instruments in company with his brother, 
somewhat on the pattern of Gius. Guarneri del Gesii, 
He was a prolific craftsman and a real master, but 
only a few specimens have a fine finish. The arching 
of his instruments is beautiful. He applied a light 
yellow, golden-yellow or brown-yellow varnish. With 
his brother he worked up to the year 1710. Some of 
his instruments have, nevertheless, an excellent tone. 
Price 25.000 Kc at least. 

Paolo Antonio Testore 
Milano 17 . . 
Paolo Antonio Testore figlio 
di Carlo Giuseppe Testore 
in Contrada Larga di Mila- 
no al Segno dell Acquila. 1759 

Theodoti Giovanni, ca 1711, Amati style. Place un- 

Theoditi Hieronymus, see Theodoti. 

Thir Tommaso, Trevi-Foligno. 1692. A violin maker, 
perhaps from Vienna, who is known only from one 

■^iol^- Thomas Thir Trebiano 

in Itaha 1692 

Tiburtinus Giuseppe Centurio. Padua, ca 1780. — 
Worked in the style of Nic. Amati. 

Jos. Centurio Tiburtinus in Padua 1780 

Tiefenbrucker Jacomo, Milan. 18th century. 

Tieffenbrucker Leonardo, Padua. 16th century. Built 
violas and lutes. Fine craftsmanship. 

Tieffenbrucker Leonard, Venice. 1590. Perhaps son 
of Vendelius, according to E. G. Baron (author of 
a German book on lutes) probably a pupil of Leon- 
ardo, though not much younger than the latter. 

Tieffenbrucker Magnus, Venice. 1557—1621. This 
master seems to have reached a very old age, but 
there may have been two makers, of this name in 
Venice. His genuine works are good. The Lobkovic 
collection of Roudnice included one mandola by him. 

Magno Diefforpruchar 

a Venetia 



iDagno dicftbprucl^ar a vcncria. 

: ..-- ^ — ..^_;-»^i»-. :xJ 

Tieffenbrucker Moises, Venice. 18th century. 

Moises Tiefenbrucker 
H. H. in Venetia fecit 


Tieffenbrucker Ulrich, Venice, Bologna 1521. Luts 

Ulrich Duiffoprugar Lutario A. 1521 

Tieffenbrucker Vendelius, Padua. 1572—1611. Son of 
Leonardo Tieffenbrucker. Worked very carefully. 
Built lutes, violins, also a 'cello by him is known. 

In Padua Vendelinus Tieffenbrucker 
In Padova 


In Padova 

Vvendelio Venere 

de Leonardo Tieffenbrucker 1582 

T omassuci Giasone, Rome, b. Nov. 8, 1896, profes- 
sional violin maker, Stradivari and Amati patterns, 
varnish imitated, careful finish. 

Giasone Tomassucci 
fece in Roma nel 1914 

T omassuci Cigno, brother of Giasone, Umbria b. Jan 6, 

1912. Personal model, red varnish on yellow ground. 

Cigno Tomassucci 

fece in Arrone. Umbria 





NEL 1949 

In Padoua Vvendelio Venere 
de Leonardo Tiefembrucker. 

Tirler Carlo, Bologna. 17th century. Little known 
violin maker. carlo Tirler Leutar 
in Bologna fece 

Tivoli Fiorini, San Remo, b. 1894, grandson and pupil 
of Raffaele Fiorini, capable master. See R. Vannes 
p. 364. 

Todini Michele, Rome. Born at Saluzzo in 1625, died 
after 1676. He was a professional musician, a con- 
trabassist. Quite a good hand at violin and lute 
making, nevertheless chiefly performer. 

Todini Pietro, Rome. 1620—1675. Built lutes and con- 

Tolino Giuseppe, Naples 19th century. 

Giuseppe Tolino 

Premiato fabbrica di instrumentl musicali 

46 via Liggera, Napoli. 

Tomasi Carlo Gasparo, Modena, 17th or 18th century. 
His existence is confirmed only by one preserved 
viola d'amour. 

Tomassini Domenico, called Mariano, Rome, b. July 2, 
1892, orchestral player, careful and reportedly suc- 
cessful amateur maker. 



Anno Op 

Tonelli Pietro, Naples, 19th century. 

Tonna, La-Valetta (Island of Malta). 1850. Contrabass 

Tononi — a prominent family of violin makers. 

Genealogy of the Tononi family*: 

Tononi Felice 

Carlo Tononi Giovanni Tononi Guido Tononi 
1689—1717 1689—1740 1690—1760 

Pietro Tononi 

Carlo Antonio Tononi 

* The most outstanding masters of the family vifere the 
descendants of Carlo Tononi (1689—1717), viz Pietro (1710— 
1725) and Pietro's son Carlo Antonio (1721—1768). Their com- 
mon ancestor Felice Tononi (1670—1710) had three sons: the 
above-mentioned Carlo, Giovanni (called "de Tononis"), and 
Guido (1690—1760). Fietro and Carlo Antonio worked together 
with Carlo; after his death Pietro took over the workshop, while 
Carlo Antonio left Bologna for Venice. 


Tononi Carlo, Bologna. About 1689—1717. Son of Fe- 
lice, brother of Giovanni and Guido. Built instruments 
on a most beautiful large pattern in the style of Nic. 
Amati. The upper part of the very carefully worked 
belly is broader, but flatter. He applied a good 
yellow, brown, often also red varnish. His instru- 
ments have a full arching and wonderful tone. Price 
80.000 Kc and more. 

Carolus Tononi fecit 

Bononiae anno 1717 

Carolo Tononus fecit Bononiae 

in Platea Castaelionis, ann. Domini 


Carolus Tononus fecit Bononiae 

in Platea Castaelionis, ann. Domini 


Carolus Tononi fecit Bononie in Via 

Sancti Mamantis sub Signo Sancte 

Caecilie Anno Domini 1716 

Tononi Carlo Antonio, Venice. 1721 — 1768. Son of 
Pietro Tononi. Worked on the large pattern of 
Amati. The arching and the gracefully cut small, 
round sound-holes are executed, however, in the style 
of Stainer. The edges and the purfling are admirably 
finished. He used a yellow or yellow-red varnish 
with high lustre. His works are very good concert 
instruments. Sizes of violins: length of belly and back 
355 mm, upper width 166 mm, lower width 206 mm, 
width of centre 110 mm, height of violin under the 
bridge, i. e. belly and back with the sides, 63 mm. 
Price 65-80.000 Kc. 

Carolus Tononi Bonon. fecit 

Venetiis sub titulo S. Ceciliae 

anno 1739 

Carolus de Tononis 

fecit Venetiis 17 . . 

Arlo Tononi Bolqgncfe 
FeceinVcfezii'KiA': I 7.2^ 

Tononi di Bologna 
fecero 16 . . 

Tononi di Bologna 
fece anno 1681 

Tononi di Bologna 
fecit, anno 1670 

Tononi Giovanni, called "de Tononis", Bologna, Ve- 
nice, Rome. 1689—1740. Son of Felice. Tononi. 
Worked according to the models of different masters, 
mostly in the style of Nic. Amati, whose pattern he 
enlarged. Excellent workmanship: fine wood, fault- 
lessly finished purfling, narrow, cleanly rounded-off 
edges, gracefully cut sound-holes and scrolls. Yellow 
or light brown-red varnish, always of beautiful lustre 
and excellent quality. His 'cellos and violas are best. 
It has been asserted, but not fully proved, that he 
also worked in Rome. Price 80.000 Kc, 'cello more. 

loannes de Tononis fecit Bononiae 
in Via Mamuli Anno 1699 

Joannes de Tononis 
fecit Venetiis 17 . . 

Joannes de Tononis fecit Bononiae 
in Platea Paviglionis anno 17 . . 


Oanncs Tunonns fccit BononOs 

in Platea. Pauaglionis- 
,• Anoo Dasaini.i<J8^ 

Tononi Pietro, Bologna ca 1713. Son and probably also 
pupil of Carlo Tononi, from whom he took over his 
workshop and ran it with his son Carlo Antonio. 
Applied a golden-yellow varnish. Careful finish, rich 


Tononi Felice, Bologna. 1670 — 1710. Worked care- 
fully, in company with his son Giovanni, on the 
patterns of Amati and Stainer, applied a beautiful 
soft yellow or yellow-brown varnish. The purfling 
is finished in a very delicate manner. He worked 
also in Rome. In tone his instruments are excel- 
lent; particularly outstanding are his 'cellos. Price 
30-50.000 Kc, 'cello more. 

Tononi Guido, Bologna and Rome 1690—1760. Amati 


Toppani Michel Angelo de, Rome. 1735—1750. His 
instruments remind of those of David Tecchler, 
only the sound-holes are somewhat larger. The purf- 
ling is inaccurate, the edges rather broad. The arch- 
ing is moderately high. He applied a golden-yellow 
varnish. The tone of his instruments is strong and 
agreeable. Price 15 — 25.000 Kc. 


Trenlln Gregorio, Padua. Born at Conselve near Padua 
in 1768, died at Padua in 1854. Maker of no parti- 
cular skill who built for the most part guitars, harps, 
lutes and pianos. 

Trlnelli Giovanni, Scandiano. Born at \illalunga, 
Regio Emilia, died 1815. Worked on a large model. 
Wood of good resonance, but inferior appearance. 
The tone of his instruments is good. Price 16.000 Kc. 

Johannes Trinelli, 1810 

Troiani Carlo, Rome, ca. 1889, perhaps a son of Fran- 
cesco Troiani. 

Toralba, name of a mediaeval Florentine lute maker. 

(13th century) whose works are, of course, lost. 
Torelli, Verona. 1625. A violin and lute maker, known 

only by name. 
Torossi Cesare, Novara. 1841 — 1846. Little known 

violin maker. 



l**iij''I^O¥aVa, Taring* iS4*| 






Troiani Francesco, Rome. 19th century. Vicvlin maker 

of medium skill. 
Trucco Girolamo, Savona, ca 1840, made violins, harps 

and guitars. He produced, mostly with great skill, 

violins of a small pattern. 

Torrano, Turin. 1700. Little known violin maker. 

Terresan Antonio, Crespano. Born 1802, died 1872, 
made cheap instruments of inferior quality. 

Tortobello Francesco, Rome. 1680. Worked in the 
fashion of the Brescian school. 

Totis Giuseppe, S. Vito al Tagliamento, 20th century, 
exhibited two violins at Cremona in 1937. 

Tramonti Rodolfo, Forli, b. May 25, 1901 at Sarsina 
(Forli), built instruments according to Stradivari's 
pattern, using red oil varnish. 

Trapani Raffaele, Naples, 1800, 1826. He worked skil- 
fully in the fashion of the Brescian school, built 
instruments of flat arching, strong edges, tapering 
sound-holes of unseemly cut. He used a red or red- 
brown varnish. Best are his 'cellos. Price 12.000 Kc. 

Raffaele Trapani 
Napoli No . . 

Traversa Giuseppe, Scampierdarena, an artisan and 
amateur violin maker, b. Feb. 20, 1878. 

Traverso Giuseppe 


24/12 1949 

Travi Erminio, Vignate (Milan), guitar and mandolin 
maker. Time unknown. 



Trusiano Vincenzo see Panormo. 

M»UUMij<MHm .w»uxe' ' - ' wmj B Pauwc ' . c tctjow 

Trussardi Paolo, Arqua-Polosine. 1900. Little known 

violin maker. 

Paolo Trusardi fece 

Arqua Polosine An. 1911 

Turchi Gian Martino, Pisa, Rome. 1606. Violin maker, 

who came to Rome in 1606. 
Turtur Nicolo, Bitonto (Bari). 1900. Little known 



Ugar Crescenzio, b. in Urbino 1712, d. in Rome 1791, 
pupil of Giuseppe Orzelli. Few specimens are known. 


Worked in the fashion of the German school. Instru- 
ments of medium quality. He used a brown varnish 
of plain appearance. Price 10.000 Kc. 

Crescentius Ugar 
fecit Romae anno 1788 

Ugar Pietro, Arezzo, 1800. His instruments possess no 
characteristic traits. Probably son of Crescenzio 
Ugar. In addition to violins he made also guitars and 

Petrus Ugar Urbinas fecit Romae 1770 

Uitenus (Vitenus) Nicolaus, San Vito. 1650. Only a 
'cello was known, which was sold in an auction at the 
Hague in 1759. 

Nicolaus Uitenus 1650 

Ullmann Georg. Milan. Born in Spa Eister on 9. 9. 
1879. Pupil of Reinhard Schmidt of Markneukir- 
chen, studied at the violin-craft school for three 
years, worked with the violin makers Kurth and 
O. Mockl in Berlin, with K. B. Dvorak in Prague 
and Degani in Venice. In 1901 he established himself 
as an independent craftsman in Milan. He built 
instruments on the pattern of Stradivari. Good 


Georgius UUman 


Mediolani 1909 

Georgius Ullmanius 
fecit Turicum 1920 


Ungarini Raynoldo, Fabbriano, 1800, 1806. Son and 
probably also pupil of Antonio Ungarini. Instru- 
ments of the same quality as those of his father. 

Reynaldus Ungarini Fabrianensis 

Antonii filius 

De Stradivarii Schola perfecit 

Anno 1800 

Unverdorben Max. Venice. 1515. Lute maker. 

Marx Unverdorben a Venetia 

Ursini O., Rome, 1635. His existence has been proved 
only by one lute which was found in Czechoslovakia 
in 1920. 

Usuelli Eraldo, Mariano Comense, b. Apr. 24, 1879, 

pupil of Paolo Erbo, self-dependent since 1910, 

brownish-yellow, golden-yellow or light-brown oil 

varnish. ,, ... „ , , 

Usuelli Eraldo 

Mariano Comense 

anno 1949 

Utili Nicolo, Castel Bolognese. Born in 1888. Good 
violin maker, but little known. 


Vaccari Raffaele, Lentigione di Brescello (Reggio Emi- 
lia) b. Oct. 23, 1908. Pupil of Gaetano Sgarabotto 
and assistant of Amedeo Simoniazzi. Stradivari, 
Amati and Guarneri patterns, transparent yellow, 
orange or red spirit and oil varnish. Exhibited a 
viola and a 'cello in Cremona 1937. 

Raphael Vaccari Lentigionensis 
fecit Anno 19 . . 

Raphael Vaccari Lentigionensis 

Gaietani Sgarabotto alumnus 

Parmae . fecit Anno 19 . . 

Vaccari . . . ., Turin, an amateur, made some copies of 

Valdastri, Modena. 1805. An assiduous and skilful, but 

little known master. 
Valenciano Maria, Padua ca 1764, only one bass-viol 

is known. 

Maria Valenciano Paduensis 1764 

Valente J. e G., Catania (Sicily) made guitars and 

Valente Raffaele, Rome, 1898. Mandolin maker. 
Valenti Pietro, Rome. 20th century. Little-known 

violin maker. 

Ungarini Antonio, Fabriano. Born March 13, 1696, d. 
Nov. 7, 1771. Scanty evidence of his work. Judging 
from the build of his good instruments he may have 
been either a pupil or a collaborator of Stradivari. 

Antonius Ungarini 
in Fabriano an 1745 

Pietro Valenti 

»mp»«t»«M WiposJjtltmi KJttto«t«« t«l.« 


Valentini Arturo, San Marino, b. June 6, 1865 Rimini, 
d. Sep. 27. 1944 used a red varnish, had a model of 
his own. 

Valentini Valentino, Rome, b, Apr. 10. 1881, sculptor 
by profession, made violins in leisure time; reddish- 
brown spirit varnish. 

Valentini Valentino 
Fecit in Roma-Anno 19 . . 

Valenzano Giovanni Maria; Valencia, Rome, Trieste, 
1771 — 1825. He came from Asti, worked in Naples 
and Padua after the fashion of the Milanese and 
Neapolitan schools. His instruments are designed on 
the model of Amati, provided with moderate arching, 
carefully finished and endowed with a good tone. 
He used fine wood, and applied a good yellow or 
brown-yellow varnish. Price 20 — 25.000 Kc. 

Joannes Maria Valenzano 
Astensis fecit Romae 1825. 

Maria Valenziano Paduensis 17 . . 

Vallini Giulio, Cremona, 18th century. Little known 
violin maker. 

Vallusa Marcello, S. Zeno (Verona), Via S. Bernar- 
dino 3, 20th century. Exhibited one violin at Cre- 
mona in 1937. 

Valonini Zanolo (Gianolo), Venice, 1765 — 1783. 
Violin maker of mediocre skill. 

Vandaini Pietro, b. in Bologna 1780, died there in 1846. 
Pupil of Giovanni Varotti in Bologna. Instruments of 
large pattern, provided with oil varnish in different 
colours, yellow, red, brown, and intermediate shades. 

Pietro Vandaini 
allievo del Varotti 1843 

Vandelli Giovanni, Fiorano (Modena), Born 1796, 
died 1839. Worked carefully in regard to the tone, 
but otherwise his instruments do not rise above the 
average. Price 12.000 Kc. 

Vangelisti Pier Lorenzo, Florence. 1700 — 1745. He 
worked on a medium-sized high-arched model simi- 

lar to that of Gabrielli. His instruments have rather 
broad edges and gracefully shaped sound-holes; the 
wood he used is nearly always of fine quality. He 
applied a good yellow or light yellow varnish. Very 
good are his 'cellos and contrabasses. 
Price 15-35.000 Kc., 'cello more. 

i Pitr torenziO Viiogelifb 

I fece P Anno i 7^^t^»-Firfii7^. 

Vannuchi Nicolo, Florence. 1703. Lute maker. 

Varangoli Ferrucio, Venice 1885—1916, perhaps a 
pupil of Leandro Bisiach in Milan, settled later in 
Paris where he made repairs and copied the Cremo- 

nese classics. 

Varangolo Ferrucio 
Repare a Paris 1913 

Varangolo Ferruccio Veneziano 

alunno di Leandro Bisiach 

fece in Milano anno 1908 

Varotti Joannes, Bologna 1786—1815. The outline of 
his instruments, designed according to G. P. Mag- 
gini, is handsome. Rather high edges, sharp corners, 
neatly finished, mostly double purfling, gracefully 
carved scrolls. The sound-holes are cut on the pattern 
of Andrea Guarneri. Golden-yellow varnish. The 
tone of his instruments is very good. Emanuel Adam 
Homolka of Velvary owned a violin by this master, 
which was coated with a golden-yellow varnish and 
provided with double purfling: on this model Ho- 
molka built a violin for the choir of Velvary. Varotti 
also used pear wood for the backs of his instruments. 
Price 40.000 Kc. 

f Joannes V^arcstu recit v 
, I Boncmise hnno ^7JS,y. 

Vascallo Giovanni, Milan, 18th century. Pupil of Gran- 
cino, on whose pattern he worked, only with less skill. 
Vasi Marco, Ravenna, 1830. Built good violas. 

Ravennae XXX novembris 1830 

Marcus Vasi Fuit Artifex 

Praesenti novis instrument! 

Vecchi Orazio, Modena, 1880. Devoted most of his time 

to the making of contrabasses of a small pattern. 
V entapane Giuseppe, Naples. 19th century. Mediocre 


instruments on the pattern of Lorenzo Ventapane. 
Perhaps a son of Lorenzo. Price 16.000 Kc. 
Ventapane Lorenzo. Naples. 1809—1828. Developed, 
following the examples of Stradivari and Gagliano, 
a beautiful broad model. The wood is always fine, 
the varnish mostly dark yellow, sometimes also 
orange, the delicately cut sound-holes are placed in 
a slanting position. His work has the characteristics 
of the Neapolitan school, a little superficial; the tone, 
however, though lacking smoothness, is good and 
strong. His excellent varnish is transparent, with a 
touch of green. First-rate are his 'cellos. Price 25.000 
Kcs., 'cello more. 

Lorenzo Ventapane 

Fabbricante di Strumenti armonici 

Strada Donnaregina no 35, Napoli 1800 

Ventapane Pasquale, Naples. 1740 — 1801. Worked on 
the model of Giuseppe Gagliano and some instru- 
ments from his hand have even been marked with 
Gagliano's label. He used, however, a larger pat- 
tern which helps to distinguish his instruments from 
those of Gagliano. The tastefully carved scrolls are 
somewhat larger; graceful sound-holes are located 
in a good position. He used a good red varnish. 
Also the sound is excellent; exquisite are his 'cellos. 
Price 24.000 Kc. 

Ventapane Pasquale 

Fabbricante di violini e violoncelli 

Via Speranzalla no 23 Napoli 

Ventapane Vincenzo. Naples, 1750—1799. Pupil of 
one of the Gaglianos and of Tomasso Eberle. His 
work is beautiful and carefully finished. Every in- 
strument shows the typical features of the Neapo- 
litan school, although he worked on various patterns 
(Stradivari, Gagliano and often Eberle). The wood 
is almost always carefully selected, the purfling 
finished in a tasteful way, the edges neatly rounded 
off. He used a fine yellow- or yellow-brown varnish. 
The tone is very good. He is considered as the best 
maker of the Ventapane family. Price 40.000 Kc. 

Ventura Annibale, Viadana and Milan ca 1740, fol- 
lowed on the whole Stradivari; poor workmanship, 
golden-yellow varnish. 

Ventura Antonio, Milan, b. July 20, 1910, independent 
since 1939. Current work, Stradivari pattern, alco- 
hol varnish. 

Ventura Enrico, Milan, guitar and mandolin maker. 

Ventura Francesco, Venice. 

Ventura Giovanni, Parma 1622. Little known violin 

Venturi Linelli, Venice, ca 1514; violas of large size 

are known. .,. ,,. ,, ^ . 

Lenelu Venturi 

fecit Venetiis An. 15 . . 

Venzi Andrea, Florence, 1636. Violin maker, whose 
works are little known. 

Verini Andrea, Modena. 1884. Son of Serafino Verini 
and perhaps his pupil. For the quality of tone instru- 
ments are somewhat superior to those by his father. 
Otherwise nothing particular. 

Verini Serafino, Arceto, Cascogno (Modena). Born 
1799, died 1868 at Montebonello near Frignano. 
Son of Bernardo Verini; a dilettante who built 
violins and 'cellos of fairly good tone, although no 

Verle Francesco, Padua. 1590, 1600. Little known, 
violin maker. ^^ ^^^^^^ 


Verona Pietro, Corregio, 1606. 

Veronesi Camillo, Bologna, 19th century. 

Veronesi Enrico, Udine, b. July 12, 1875 in Bologna, 

violinist, pedagogue and amateur. Exhibited three 

violins at Cremona in 1937. 

Enrico Veronese-Bolognese 

fece Anno 1932 


Enrico Veronesi 

fece Anno 1941 


Verzella Francesco, Naples, b. 1864, guitar and man- 
dolin maker. 

Vetorazzo Giovanni, Vicenza, 1793. Worked carefully 
and used good wood. 

Giovanni Vettorazzo 

fecit Vicenza Anno 


Vetrini Battista, Brescia, 1629. A good master, though 
little known; worked skilfully in the tradition of the 
Brescian school. Violins of smaller pattern; fine 
wood; good yellow varnish. Price 20.000 Kc. 

Vettori Dario, Florence b. Nov. 19, 1903 at Firen- 
zuola near Florence, pupil of Primo Contavalli, 
maker and artist. 

Vezzelli Pietro, Bologna, 1880. He devoted himself 
more to the sale of instruments than to violin 
making. Was a Czech by birth — Petr Vesely. 


364. Carlo Antonio Tononi, Venezia 


-••■aiiWKBpMf g 


365. Carlo Antonio Tononi, Venezia 


>.^^v»-^- <i«i»iiB&at-ss- ^■'iSsat.isJKsas.^.^^^.E.^.Ai'i.i'-^-^. 

366. Carlo Antonio Tononi, Venezia 









370. Pietro Tononi, Bologna, 1717 






■£ OiOiiM-aea J 

































379. Giovanni Vinaccia, Napoli, 1754 






to -— 

D O 

C = 






383. Gagliano Allesandro 


He applied a brown-red varnish; a 'cello of his had 

good tone. 
Vian Giovanni Battista, ca 1868. 
Vicenardi Paolo, Venice 18th century, disciple of Carlo 

Tononi in Venice, little known, perhaps one of the 

lost masters. 
Viganzio Lodovico, Rome, 1623. Lute maker. 
Viglianesi Salvatore, Catania (Sicily). 
Vignali Giuseppe, Veruchio, b. 1888, d. 1918 followed 

Stradivari during his promising, but short life. 

nio I. Vinaccia (1734— 1781 ). He was a skilful violin 
maker, whose works are valued higher than those 
of his father. 

Gaetano Vinaccia Napoli Rua Catalana no 50.1805 

Vigoni A., Pavia, 19th century. A violin maker who 
worked only for his immediate neighbourhood. 

Violcete Giovanni Gasparo, Venice 1535. 

Vimercati Gasparo, Milan, ca 1766, a grandson of 
Paolo. Vimercati was mandolin maker, violins, if any, 

are rare. „ 

Gaspare Vimercati 

nella Contrada 

della Dogana di Milano all segno 

delta Luna 1766 

Vimercati Paolo, Venice, ca 1660—1710. Son of Pietro 
Vimercati. His instruments are beautifully executed 
on different models, mostly in the manner of the 
brothers Ant. & Hier. Amati. He used a fine yellow, 
sometimes also red, varnish. Price 25.000 Kc. 

Vimercati Pietro, Venice. 1640— 1660. Worked on the 
pattern of Amati, but with higher arching. He also 
imitated other masters, with much skill. Price 
25.000 Kc. 

Vinaccia Antonio (I), Naples. 1734—1781. Probably 
son of Nic. Vinaccia. Worked on the patterns of 
old masters, chiefly of Nicole Gagliano. Good work- 
manship; brown varnish of good quality. Price 
15.000 Kc. 

Antonius Vinaccia Fecit 
Neapoli Anno 1780 

Vinaccia Antonio (II) Naples. 1754—1784. Son of 
Gennaro Vinaccia. Built good, rather flat instru- 
ments on the pattern of N. Gagliano. Large, unseemly 
scrolls but fine wood; yellow-brown varnish. The 
purfling, inserted at a distance from the edges, is 
not particularly well finished. The tone of his in- 
struments is, however, rich. Price 25—35.000 Kc. 

Antonius Vinaccia 

filius Januarri fecit Neapoli 

alia Strada Rua Catalana 1765 

Vinaccia Domenico, Naples. Ca 1780. Mandolin maker. 
Vinaccia Gaetano, Naples 1779—1821. Son of Anto- 

Napoli Rua Catalana No 46. 


Vinaccia Gaetano, Naples ca 1914. Made mostly gui- 
tars and mandolins; his few violins etc. are said to 
be good. 

Vinaccia Gennaro, Naples. 1755 — 1778. Son of An- 
tonio Vinaccia. Fine work on the models of Stradi- 
vari and N. Gagliano. The instruments are made of 
fine wood, the tastefully finished sound-holes are 
copied from Nic. Gagliano. In regard to the tone 
his instruments are good, particularly his violins 
and mandolins. Price 40.000 Kc. 

Januarius Vinaccia fecit Neapoli sub 

signo Cremanae in Rua Catalana Anno 

Domini 1778 

Vinaccia Giovanni, Naples, 1767, 1777. Son of Gen- 
naro Vinaccia; devoted himself, however, more to 
the production of mandolins. 

Johannes Vinaccio Filius Januarii fecit 

Neapoli alia Strada della Rua Catalane 

A D 1770 

Vinaccia Giuseppe, Naples, ca 1914. Mandolin maker. 
Vinaccia Mariano, Naples, 1795. Son of Antonio. He 
also, made mostly mandolins. 

Marianus Vinaccia qu Antonii 

fece Anno 1798 in via Constantii 

No 18 Neapoli 

Vinaccia Nicolo V (I) Naples. 1715. Little known, 
violin maker. 

Vinaccia Nicolo V (II) Naples 1775, brother of Vin- 
cenzo Vinaccia, probably his assistant, must have 
worked anonymously. The one specimen known is 
not a violin. 

Vinaccia Pasquale, Naples, Born June 20, 1806, died 
about 1885. Mandolin maker. 

Vinaccia Vincenzo, Naples. 1769, 1785. Son of Gen- 
naro Vinaccia. Worked on the pattern of Jos. Guar- 
neri del Gesii. His instruments are of good quality. 
His guitars and mandolins are inlaid with ivory, 
bone and mother-of-pearl. Price 20.000 Kc, inlaid 
instruments according to merit and preservation. 

Vincentius Vinaccio 

Filius Juanarii 

fecit Neapoli alia rua Catalana 

A D 1775 

Vincentius Vinaccio fecit Neapoli 
Sita Nela de Spitaletto A D 1785 


Vinaccia Fratelli: Gennaro and Achille Vinaccia in 
Naples, manufacturers of mandolin in Naples to- 
wards the end of the 19th century. 

Vinaccia Fratelli 

Vinceiiti M., Florence 1830. Built for the most part 

'celli and contrabasses. 
Vincenzi Luigi, Carpi. Born 1775 at San Giovanni 

Concordiese, died after 1818. Good workmanship; 

amber coloured varnish; good tone. Price 20.000 Kc. 

Aloysius Vincenzi Carpensis 1819 

Vincolini Giovanni Battista. 1777. It has not been 
possible to ascertain the place where this violin maker 


Fece Gio Batta 
Vincolini nel 1777 

Vinotti Gesualdo, Nomi (Trento) b. July 16, 1911. 

Exhibited two violins and one viola at Cremona in 


Gesualdo Vinotti-Nomi 

fece 1948 

Violcete Giovanni Gasparo, Cremona, 1655. Worked 
on the patterns of the Brescian and Cremonese 
schools. Scarce, dubious label. 

G. Giov. Gasp. Violcete 
Cremonen An 16 . . 

Virchi Battista di, Brescia, Born 1521, died after 1588. 

Brother of Girolamo Virchi. Produced lutes and 


Baptista Bressano 

Virchi Benedetto di, Brescia. Born about 1520 died 

after 1568. Son of Bernardo di Virchi and brother 

of Girolamo. He was a good lute maker. His son 

Bernardo became organ maker. 
Virchi Geronimo di, Brescia, Born about 1523 died 

after 1573. Son of the master Bernardino di Virchi. 

From 1563 he had the predicate of "Maestro de 

instrumente de Musica". He was Gasparo de Salo's 

friend and perhaps his teacher. He is known to have 

been a lute maker. 
Virchi Giovanni Paolo, called "Targhetta", Brescia, 

Ferrara, Mantua. Born 1552, died about 1612. Son 

of Girolamo di Virchi, lutanist, lute maker, organist 

and composer. 
Vischi, Spilamberto (Modena) 1880. A self-taught 

craftsman who made several average violins in his 

Visco Bruto, Piperno, Rome 1600, 1608. Lutanist and 

excellent lute maker. In Rome after 1608. 
Visconti Gaetano, Bologna, 1809. Guitar maker. 
Vistoli Luigi, Lugo and Campo San Giacomo; standard 

models, varnish from yellow to deep orange. Born 

March 13, 1890. 

Fece in Lugo-19 . . 

Vitantonio Vito, Rotello (Campobasso) signed his in- 
struments since 1916 and died 1946. 

Vitor Pietro Paolo de, see De Vitor. 

Vivoli Giovanni, 1642. Florence. He was a good lute 

Vogler Michael, Rome ca 1632, d. March 5, 1672, 
a native of Fiissen, little known. 

Volpe Marco, Spilamberto 1820, died in 1839. Little 
known violin maker. 


Wagner Dom Casp., Chiagio near Arezzo 1725. Little 

known violin maker. 

Wenger Ben Delio in Padua 1622 — only one theorbo 


Wenger Ben Dellio 

a Padoue 1622 

Werle Francesco. (See Verle F.) 

Worschel Antonio, Milan, ca 1697. Very good crafts- 
man. He used fine wood and carved the scrolls of his 
instruments with delicate taste. 

Antonio Worschel 
fecit Milano 1697 

Zamberti Giuseppe, Venice 20th century. Exhibited 
one violin and a 'cello at Cremona in 1937. 

Joseph Zamberti 

Zamura Pietro, Brescia, 1509. He made violas, rebec 
fiddles and pochettes. 

Zanardi Giuseppe, Milan, 20th century. Exhibited one 
violin at Cremona in 1937. 

Zanetto Pellegrino of Montechiaro, Brescia, b. 1522, 
d. 1615. Instruments (violas) so labelled are dated 
1546—1550 and resemble the works of Andrea 
Amati; bright red varnish of excellent quality. — 
The name Zanetto (Pellegrino, Peregrino, etc.) has 
been grossly misused for fakes. He made violins, 
lutes, lyres, harps and 'celli. His identity with the 
violin maker Michelis Peregrino di Zanetto is not out 
of the question. 

Zanetto Pietro, Brescia. 1686. The here reproduced 
'cello and the label inside prove this violin maker 
to have existed. The precise and refined finish of 
the individual parts of the instrument tempt one to 
suppose that Pietro Zanetto imitated the style of 
G. P. Maggini. The 'cello is coated with a beautiful 
red varnish. The conjecture that this master was 


identical with Pietro Santo Maggini is utterly wrong: 
the dialectic name Zanetto stands for Gianetto (i. e. 
Giovanetto, diminutive of Giovanni), not for Santo. 

Pietro Zanetto 
Brescia 1686 

Zanfl Giacomo, Modena. Born 1756, died 1822. Good 
instruments on the pattern of Cassini. He used a 
good deep yellow or brown varnish. By profession 
he was a singing-master. His instruments are good, 
contrabasses excellent. Price 12.000 Kc. 

Zani Aldo, Cesena, b. Jan. 1, 1906 at Cesena (Forli), 
Stradivari and Guarneri models, varnish yellow, 
golden-yellow, brown. Exhibited a violin, a viola 
and a 'cello at Cremona in 1937. 

Aldo Zanl-Fece-Cesena 

Zani Francesco, Reggio Emilia. 1724—1765. Instru- 
ments of mediocre quality, provided with handwrit- 
ten labels. 

Zanier Ferrucio, Genoa, b. Jan. 2. 1887, a dentist and 
amateur violin maker who experimented in search 
for tone. Exhibited a violin at Cremona in 1937. 

Ferrucio Zanier 
Trieste 1925 

Zanisi Filippo, Castelleone (Cremona) b. Apr. 26, 
1911, followed standard Italian models using red 

ANNO 1934 

Filipo Zanisi 

AUievo Scuola Internazionale di Liuteria Cremona 

Fece in CASTELLEONE (Cremona) 

Anno 19 . . N. 

Zanoli Giacomo, Venice, Padua, Verona 1730 — 63. 
Son of Giov. Bapt. Zanoli. He worked in Venice and 
came in the forties of the 18th century to Padua, 
where he stayed until his father's death. From 
Padua he moved, in the years 1755 — 58, to Verona, 
where he took over his father's workshop. He 
worked on various patterns, the arching of his in- 
struments is, however, almost always designed on the 
model of Guarneri del Gesu. His best instruments 
are of large pattern, beautiful low arching, broadly 
rounded-off edges, neatly finished purfling. He 
applied a wonderful brown-yellow or brown-red 
varnish. Price 40.000 Kc; some of his works, how- 
ever, are valued at far above 100.000 Kc. 

Pato in Verona 

di Giacomo Zanoli 


Zanoli Joannes Baptista, Venice, Verona. Instruments 
known from 1720 on. A very assiduous master who 
worked very carefully on various models. His in- 
struments are noted for their flat arching, oval 
scrolls, and small, not always uniform, sound-holes. 
Good tone; brown-yellow varnish. 

Joannes Baptista Zanoli 
Verone fecit anno 1740 
Joannes Baptista Zano- 
li in Verona 1757 

Zanoli Valentino, Venice. 1783. Built middle-sized 
violins of good tone. 

Zanotti Antonio, Lodi and Mantua 1709— 1745. Pupil 
of Hieronymus II Amati (1649—1740). Worked on 
the patterns of Stradivari, Guarneri and on the 
large model of Pietro Guarneri I. His instruments 
are, however, of very low arching, have rather thin 
plates, good wood. He applied a fine golden yellow 
or brown-yellow varnish. The scrolls and the rather 
long sound-holes are well cut. The tone of his instru- 
ments is very good. Price 40.000 Kc, some violins by 
him are, however, worth double the price. 

Antonius Zanotus Lodegianus 
Mantua 1709 

Antoni Zanotti 
nel Mantuano 1745 

Antonius Zanottus Lodegianus 

fecit Mantuae sub Titulo Fortunae 


Zanotti Giuseppe, Piacenza. 1700. Worked more in 
the way of an artisan than with the accuracy of 
a master. Price 16.000 Kc. 

Zanotti Chrisofano. Modena. 1685. Violin and lute 
maker who made chiefly bows. 

Zanti Alessandro, Mantua. 1765—1819. Beautiful, 
careful workmanship on the patterns of Stradivari 
and Pietro Guarneri. The arching is often designed 
in a somewhat roof-like fashion. Fine wood, sweet 
tone. He used a red-brown varnish which is not of 
good quality. Price 40.000 Kc. 

Alexander Zanti fecit 
Mantuae Anno 1819 

Zara Gaspare, Pontremoli. 1896, 1902. A skilful, little- 
known violin maker. 

Zeffirini Onofrio, Cortona — Perugia. Died Aug. 7. 
1580. Viola and lute maker and also probably organ 

Zelas Michael, Genoa, 18th century; produced but few 
instruments, all of them, however, of good quality. 

Michel Zelas in Genova 


Zenatto Pietro, Treviso, 1680, 1694. Built violas, 'celli 
and contrabasses. His contrabasses are particularly 

° Pietro Zenatto fece in 

Treviso anno 1683 

Zentis Girolamo de, Viterbo, Rome. 1633—1680. Lute 

Zerboni Antonio. Milan. 1829. Only one viola is 

known, which is coated with a brown-red varnish 

and possesses a very good tone. 

Antonio Zerboni 
a Milano 1829 

Zianni Pietro, Bologna, 1748, 1750. Built his instru- 
ments of very good wood; the arching he took very 
low, really "flat". 

Petrus Zianni fecit 
Bononiae anno 1750 

Zillioli Domenico, Parma. 1792. Violins by him are of 
good quality. 

Zimbelmann Filipp, Florence, 1661. Good lute maker 
who worked in Giov. Suover's workshop in Flo- 

Zoccoli Pietro, Modena. 1753. Probably a pupil of 
Domenico Bonardi. Used fine wood. The small scrolls 
are of good cut; long sound-holes. The tone of his 
instruments is good. Price 12.000 Kc. 

Zolfanelli Giuseppe, Florence. 1690, 1697. Son of 
Francesco Zolfanelli, otherwise little known, violin 

Zorzi Valentino de, see De Zorzi. 

Zuara Pietro, Brescia, 16th century. Works unknown. 

Zucchi Giovanni, Finale Emilia (Modena), 1890. Son 
of Carlo Zucchi, guitar and mandolin maker. 

Zugolo Frederico, Udine, 19th century. Little known 
violin maker. 

Zugolo Pietro, Udine. Died 1888. 

Zuzzi Vittorio, Venice, 20th century. Violin maker, 
hitherto little known. 



Aci Reale (Sicily): 

Castorini Lorenzo, 19th cent. 
Airuno (Como): 

Manfredi Giambattista, 19th cent. 

Montavoci Fernando, d. 1938. 
Alasio (Savona): 

Gaibissi Giovanni, b. 1876. 

Pressenda Gianfrancesco, b. 1777, d. 1854. 
Alessandria: Sauli Natale, 1689. 
Anagni (Rome): Arnoldi Carlo, 1790. 
Ancarano (Ascoli): 

PascuaU Giacomo, 18th cent. 
Ancona (Ascoli): 

Albani Leopoldo, 1883. 

Antonio di Ancona, 1723. 

Baldantoni Giuseppe, 1784-1873. 

Benvenuti Silvio, b. 1904. 

Cotugno Giovanni, b. 1894. 

Gotti Emiliano, 1770. 

Moretti Carlo, geb. 1891. 
Anghiari (Arezzo): Poggini Milton, 1937. 
Apignano del Tronto: 

Maurizi Francesco, 1786—1840. 

Maurizi Francesco, 1816 — 1903. 

Maurizi Giovanni, 1850-1922. 

Maurizi brothers, 19th cent. 

Mercolini Pietro, 1821-1891. 
Arceto (Modena): 

Verini Serafino, b. 1799, d. 1868. 
Arcidoso (Toscana): Corsini Pietro, 1652. 

Alberto Guglielmo, 1877. 

Batti Antonio, 1691. 

Cavallini Luigi, 1831-1903. 

Cavalini & Figlio L., 1900. 

Cavalini Giovanni, b. 1851, d. 1935. 

Giusgnani Raffaele, b. 1870. 

Grilli Giuseppe, 1742, 1743. 

Pogini Milton, geb. 1911. 

Santini A., 1570. 

Ugar Pietro, 1800. 
Arqua-Polosine (Rovigo): 

Trussardi Paolo, 1900. 
Archi (Sicily): Buti Antonio, 1756. 

Desiderio Antonio. 

Galeazzi Adeline, b. 1828, d. 1910. 
Galeazzi Eugenio, b. 1849, d. 1862. 
Giammarini Emidio, 1855— 1915. 
Odoardi Antonio, 19th cent. 
Odoardi Giuseppe, b. 1746, d. 1786. 
Poli Giovanni Domenico, 16th cent. 
Santini Giuseppe, b. 1889. 
Ascoli Piceno: 

Castelli Cesare, b. 1912. 
Celani Costantino, b. 1869. 
Celani Emilio, 1866-1898. 
Cianibri Gaet., 1818. 
Ciarma Domenico, 1836-1889. 
Ciarma Francesco, 19th cent. 
Ciarma Nazareno, b. 1879. 
Desideri Antonio. 
Merloni Pasquale, 1818. 
Orlandi Orlando, b. 1875. 

Aiodante Nero, 19th cent. 
Borio Francesco Antonio, 1737. 
Bagno: Chiareschi Paolino, 1827. 
Bagolino: Mora Giacomo, 1701. 

Giorgetti Giovanni Antonio, 1847. 
Bazzano (Modena): 

Rovati Christoforo, 1789. 
Belluno: Gagliani Carlo, 1732. 
Bergamo (Milan): 

Lavezzani Antonio, 1860. 
Linarolo Francesco, 1540. 
Montanari, 1930. 
Rovetta Antonio, 1840-1884. 
Biella (Modena): 

Tartaglio Francesco, 19th cent. 
Bitonto (Bari): 

Turtur Nicola, 1900. 
Bisignano (Cosenza): 

De Bonis Alfonso, 1862-92. 

Antonio I., b. 1809, d. 1863. 
De Bonis Domenico, d. 1843. 

Francesco, 1850-1927. 
Francesco, b. 1888. 
Francesco, b. 1894. 
Francesco, d. 1895. 
Giacinto, 1783-1852. 
Giacinto, 1836-1857. 


Giacinto, b. 1882. 

Giacinto, d. 1896. 

Giovanni Bat., b. 1813. 

Luigi, b. 1933. 

Michele, 18th cent. 

Michele, 1825-1881. 

Michele, b. 1891. 

Nicolo, 1842-1895. 

Nicolo, b. 1896. 

Nicolo, b. 1918. 

Pasquale, 1818-1852. 

Pasquale, 1858-1922. 

Rosario, b. 1876. 

Umile, 1828-1906. 

Umile, 1883, d. 1949. 

Vincenzo, b. 1780, d. 1850. 

Vincenzo, 1855-1924. 

Vincenzo, b. 1929. 
Ferrari Francesco, b. 1797. 
Ferrari Gian Battista, b. 1795, d. after 1855. 

Albani Filippo, 1773. 

Aldovrandi Emile, 1850-1882. 

Amati D. Nicolo, 1723-1737. 

Angelis de Vitus, 1609. 

Belveglieri Gregorio, 1742—1772. 

Benaro Gius., 20th cent. 

Bolelli Pietro, 19th cent. 

Bonora Giuseppe, b. 1888. 

Bossi Floriano, 1756-1782. 

Brensio Antonio, 1592. 

Brensio Girolamo, 16th cent. 

Bressano Battista, 1590-1600. 

Bruno Nicola, 1727. 

Calvarola Bartolomeo, 1750—1767. 

CandiOreste, 1865-1938. 

Cinti Giuseppe, 1856. 

Dair Osso, b. 1888. 

Dominichini Antonio Eduardo, 1708 — 66. 

Dosi Pietro, 1880-1885. 

Pacini Fra Augustinus, 1732—1742. 

Fiorentini Astore, b. 1887. 

Fiorini Alessandro and Antonio, 1671 — 1720. 

Fiorini Raffaele, 1828-1898. 

Floreno Fiorenzo, 18th cent. 

Floreno Giovanni Guidante, 1685 — 1730. 

Floreno Guidante, 1710—1740. 

Fontanelh Giovanni Giuseppe, 1733—1773. 

Foradori Giovanni, 1855—1860. 

Fornarone il. 

Garani Michel Angelo, 1685-1720. 

Gherardi Giacomo, 1677. 

Gisalberti Giulio Cesare, 1588. 

Gregori Luigi, 1793-1808. 

Grossi Giuseppe, 1803, 1804. 

Guarmandi Filippo, 1795. 

Maler Laux, 1500-1528. 

Maler Sigismondo, 1460—1526. 

Marconcini Luigi, 1760—1791. 

Marchi Gian Antonio, 1660 — 1726. 

Maria Joannes, 1515—1540. 

Miani, 19th cent. 

Minelli Giovanni, 1808, 1809. 

Minozzi Matteo, 1767-1759. 

Monterumici Armando, 1910. 

Mozzani Luigi, b. 1869, d. 1943. 

Pasciutti Fernando, b. 1850, d. 1885. 

Peccenini Alessandro, 1581 — 1595. 

Pedrazzi Fra Pietro, 1784. 

Penzenetti Antonio, 1801. 

Pilotti Giuseppe, b. 1784, d. 1833. 

Piretti Enrico, b. 1911. 

Pogo,i Ansaldo, b. 1893. 

Pollastri Augusto, 1900-1910. 

Pollastri Gaetano, b. 1886. 

Remondini Andrea, 1720—1723. 

Rodiani Giovita, b. 1545, d. 1624. 

Romagnoli Francesco, 1821. 

Rubini, 19th cent. 

Schonfeld (Sconvelt) Nicola, 1560. 

Socchi Vincenzo, 1661. 

Soverini, 1883. 

Tadolini Giuseppe, b. 1795, d. 1870. 

Tirler Carlo, 17th cent. 

Tieffenbrucker Ulrich, 1521. 

Tononi Carlo, 1689-1717. 

Tononi Felice, 1670-1710. 

Tononi Giovanni, 1689-1740. 

Tononi Guido, 1690-1760. 

Tononi Pietro, 1713. 

Vandaini Pietro, 1780. 

Varotti Joannes, 1786—1815. 

Veronesi Camillo, 19th cent. 

Vezzeli Pietro, 1880. 

Violcete Giov. Ga:p., 1655. 

Visconti Gaetano, 1809. 

Zianni Pietro, 1748-1750. 
Bomporto (Modena): 

Baraldi Alfonso, 1879-1891. 
Bonferraro (Verona): 

Bellinazzi Giuseppe, 20th cent. 

Benvenuti Giuseppe Maria, 1690—1710. 

Parravicini Pietro, b. 1889. 

Gisalberti Andrea, 1716, 1721. 

Aisele Micha-ele see Eisele. 

Ambrogi Pietro, 1712-1746. 


Antegnati Giovanni Franc. 1535. 

Ballini Paolo, 1857. 

Bassani Giuseppe, 1678. 

Benti Matteo, b. 1580, d. after 1637. 

Bertoleti Antonio, 1796. 

Bertolotti Francesco, b. 1564—1614. 

Bertolotti Gasparo, b. 1540, d. 1609. 

Botturi Benvenuto, b. 1882. 

Brandilioni Filippo, 1790. 

Budiani Javietta, 1580. 

Busseto Giov. Maria del, 1640—1681. 

Caroli, 1681. 

Castelli Tommaso, 1623. 

Dalla Corna Giovanni Giacomo, 1484— 1548. 

De Vitor Pietro Paolo, 1738- 1751. 

Doneda Gian Battista, b. 1525, d. 1610. 

Eisele Michele, 1614-1664. 

Fasani Giovanni, b. 1785, d. 1850. 

Fontanini Andrea Pietro, b. 1871, d. 1923. 

Frezza Bartolomeo, 1624. 

Garenghi Giuseppe, 1857. 

Gelmini Giovanni, b. 1804, d. 1864. 

Guadagnini Giuseppe, 1697. 

Guzzi Luigi, 1540. 

Kerlino Giovanni, 1449-1495. 

Lafranchini Giacomo di, b. 1604. 

Lanza Antonio Maria, 1675—1715. 

Maggini Giovanni Paolo, b. 1580, d. 1632. 

Maggini Pietro Santo, 1630-1680. 

Mezzabotte Domenico Giovanni Battista, 

Michelis Peregrino di Zanetto, 1520—1603. 

Michelis Zanetto de, b. 1495, d. 1561. 

Montichiaro Zanetto, 1530—1533. 

Nella Raffaele della, 1659-1672. 

Pasta Antonio, 1710-1730. 

Pasta Domenico, 1710-1785. 

Pasta Gaetano, 1710-1760. 

Pazzini Giovanni Gaetano, 1630—1666. 

Pellegrino Michele Francesco, b. 1579, d. 1615. 

Pellegrino Michele Zuan, 1565 — 1607. 

Pezzardi, 1660-1690. 

Pozzini Gaspare, 1691-1699. 

Raihch Matteo, b. 1514. 

Ranta Pietro, 1733. 

Raphael, 19th cent. 

Raphanelli, 1652-1700. 

Railich Matteo, b. 1614, d. 1655. 

Rodiani Giovita, b. 1545, d. 1624. 

Rogeri Giovanni Battista, b. 1650, d. 1730. 

Rogeri Pietro Giacomo, b. 1680, d. 1730. 

Sarazzino Antonio, 1674. 

Sbordoni Giovanni G., 1857. 

Scarampella Angelo, b. 1852. 

Scarampella Giuseppe, b. 1838, d. 1885. 

Scarampella Paolo, b. 1803, d. 1870. 

Semola Simone see Simone. 

Sgarabotto Gaetano, b. 1878. 

Simone dal Liuto, 1580-1592. 

Steitzer Vincenzo, 1619. 

Vetrini Battista, 1629. 

Virchi Battista di, b. 1521, d. ca 1588. 

Virchi Benedetto, b. 1520, d. ca 1568. 

Virchi Gerolamo di, b. 1523, d. 1573. 

Virchi Giovanni Paolo, b. 1552, d. 1612. 

Zamura Pietro, 1509. 

Zanetto Peregrino di, b. 1522, d. 1615. 

Zanetto Pietro, 1686. 

Zuara Pietro, 16th cent. 

Ferrari Agostino, 1720. 

Morara Paolo, b. 1889. 

Mandelli CamiUo, b. 1873. 

Averna Gesualdo, 20th cent. 
Campegine (Emilia): 

Donelli Aldo, d. 1940. 

Calarese Salvatore, 20th cent. 
Capri: Artmann H., 19th cent. 
Carate Brianza: Minotti. 

Pressenda Giovanni Francesco, b. 1777, d. 1854. 
Carpi (Modena): 

Ferrari Alfonso, 1738. 

Savani Giuseppe, 1809. 

Vincenzi Luigi, 1775, d. 1818. 

Cassini Giovanni Battista, 1687. 

Maggiali Cesare, b. 1886. 
Cascogno (Modena): 

Verini Serafino, b. 1799, d. 1868. 

Fiori Amilcare, 19th cent. 
Castel Bolognese: 

Utili Nicola, b. 1888. 
Castelleone (Cremona): 
Zanisi Filipo, b. 1911. 
Castelnuovo (Vicenza): 

Santini Brothers, 1898. 
Castelvetrano (Trapani): 

Mandina Francesco, b. 1874, d. 1941. 
Castelvetrano Piacentino: 

Bianchini Secondo, b. 1928. 
Castione di Strada (Udine): 
Giorgi de Remo, b. 1894. 
Catania (Sicily): 

Carabba C. V., 19th cent. 
Caselta Fratelli. 


Caselli Francesco, 1740. 

tenga Luigi, b. 1866. 

Ferrara Fratelli. 

Fodera iircolo, b. 1895. 

Garzano Giuseppe. 

Grasso Arturo, 1930. 

Grasso I'oscano banto. 

Grimaldi O. 

Indelicate Salv., 1899. 

La Kosa Giuseppe. 

Liotta Domen., 1911. 

Mauro Ratfaeie, 1865. 

Messini Alfio, b. 1889. 

Rosario P. and son, 1898. 

Valente J. e G. 

Viglianesi Salvatore. 
Cavarzere (Venice): 

Bardollo Gino Silvio, 20th cent. 

Pioli Roberto, b. 1892. 
Cesena (Forli): 

Fracassi Arturo, b. 1899. 

Lelli Dino, 1919. 

Montevecchio Luigi, b. 1868, d. 1939. 

Zani Aldo, b. 1905. 
Ciano (Modena): 

Cassanelli Giovanni, 1770—1777. 

Citared Francesco Urbinas, 16th cent. 
Civitavecchia: Ricolazi Nicolo, 1759. 

OrlandeHi Paolo, 18th cent. 
Colle near Bergamo: 

Antoniazzi Gregorio, 1732—1750. 

Arcellaschi Galileo, b. 1910. 

Beretta Felice, 1760-1789. 

Guadagnini Giuseppe, 1736—1805. 

Mariano Davide Chirone, 1904. 

Pontiggio Vittorio, 1853. 

Romano Clemente, d. 1949. 

Ludici Geronimo Pietro, 1698-1709. 

Barbanti Silvio Franc, 1847-1850. 

Barranti Silvio, Franc, 1850. 

Verona Pietro, 1605. 
Cortona (Cortona-Perugia Tosca). 

Berti Antonio, 1721. 

Mancini Giuseppe, 1839. 

Zeffirini Onofrio, d. 1580. 

Albanesi Sebastiano, 1720 — 1744. 

Albani Paolo, 1630-1695. 

Alvani Paolo, 1750-1755. 

Amati Andrea, b. about 1535, d. after 1611. 

Aniati Anionio, b. about 1553, d. Ib40. 

Amati Jtrancesco, 1040. 

Amati Geronimo (Hieronymus) I, b. 1556, d. 1630. 

Amati Geronimo (Hieronymus) II, b. 1649, d. 1740. 

Amati Nicolo, b. lb9o, d. 1684. 

Amati Ant. & Hier., 1555—1630. 

Anselmo Pietro, 1730-1760. 

Antoniazzi Gaetano, b. 1823, d. 1897. 

Antoniazzi Romeo, b. 1862. 

Antonij (Antony) GiroL, 1750-1780. 

Bachetta Giuseppe, 1780. 

Balestrieri Pietro, 1735. 

Barabas, 1793. 

Barzellini Aegidius, 1670-1700. 

Benedicti Donato de, 1679. 

Bergonzi Benedetto, died 1840. 

Bergonzi Carlo, 1676-1747. 

Bergonzi Carlo, 1780, d. 1820. 

Bergonzi Francesco, 1687. 

Bergonzi Giuseppe, 1740. 

Bergonzi Lodovico, 1741. 

Bergonzi Michel Angiolo, 1715 — 1765. 

Bergonzi Nicolo, 1749-1782. 

Bergonzi Zosimo, 1750—1777. 

Bomini Carlo, 1715. 

Bosi Carlo, 1873-1940. 

Bussetto Giovanni Maria del, 1640—1681. 

Caeste Gaetano, 1660-1690. 

Camillio Davide, 1755. 

Capo Antonio, 1796. 

Cavalli Aristide, b. 1856. 

Cavalli Lilio, b. 1883. 

Cavalli Savio, 1850, d. 1861. 

Cerutti Enrico, b. 1808, d. 1883. 

Cerutti Giovanni Eattista, b. 1755, d. 1817. 

Cerutti Giuseppe, b. 1787, d. 1860. 

Clementi Pietro, 1678. 

Colonardi Marco, 17th cent. 

Cornelli Carlo, 1702. 

Diguni Luigi, b. 1878, d. 1937. 

Diguni Sebastiano, 20th cent. 

Falco Paolo, 1750-1752. 

Fontanini Andrea Pietro, b. 1871, d. 1923. 

Fraiser Giorgio, 1648 — 1666. 

Gagliano Giovanni Battista, 1728. 

Gerani Paolo, 1614. 

Giordani Alberto, 1725-1740. 

Gisalberti Andrea, 1716, 1721. 

Giulani, 1660. 

Gouvernari Antonio, 1600, 1601. 

Grancino Giovanni, 1645 — 1682. 

GruUi Pietro, b. 1870, d. 1898. 

Guadagnini G. B. 1711-1786. 

Guadagnini Lorenzo, 1695—1760. 


Guarneri Andrea, 1626—1698. 
Guarneri Giuseppe, 1666—1739. 
Guarneri Giuseppe d. G., 1687 — 1744. 
Guarneri Jos., i/u6. 
Guarneri Fietro, 1655 — 1728. 
Guarneri i^ietro, 1095-1752. 
Guarneri Ubaldo, 1683. 
Guarneri Catarina, d. 1658. 
Gudi Giroiamo, 1726, 1727. 
Guglielmi Giovanni Battista, 1747. 
Guseito Nicolo, 1785-1828. 
Lamagni Rosoiino, b. 1925. 
Maglia Stelis, b. 1925. 
Mainelli Luigi, 1823. 
Manosi Matteo, 19th cent. 
Marcelli Giovanni Antonio, 1696, 1697. 
Marconi Lorenzo, b. 1881. 
Margini Antonio, 1693. 
Mola Francesco, 1641. 
Montade Gregorio, 1620. 
Montade Gregorio, b. 1729, d. 1806. 
Montana Gregorio, 1690. 
Muncher Romedio, b. 1874. 
Orlandi Ernesto, b. 1929. 
Pagani Gian Battista, 1735-1743. 
Penscher Maria, 1696. 
Polis Luca de, 1751. 
Politi Eugenio, b. 1853, d. 1909. 
Renisto ? 

Ricolazi Davide, 1740. 
Ricolari Lodovico, 1729. 
Rogieri Domenico, d. 1750. 
Romanini Antonio, 1705-1740. 
Romarius Antonio, 1703. 
Rosiero Rocco, 1730. 
Rota Giovanni, 1795-1810. 
Ruggeri Antonio, 1723. 
Ruggeri Francesco, 1645 — 1700. 
Ruggeri Giacinto, 1666 — 1698. 
Ruggeri Guido, 1720. 
Ruggeri Vincenzo, 1690—1735. 
Segher Giroiamo, b. 1646, d. 1682. 
Schiavi Carlo, b. 1908, d. 1943. 
Stephannis — "Nepos", 1507. 
Storioni Carlo, 1888. 
Storioni Lorenzo, b. 1751, d. 1801. 
Stradivari Antonio, b. 1644, d. 1737. 
Stradivari Francesco, b. 1671, d. 1743. 
Stradivari Omobono, b. 1679, d. 1742. 
Tachinardi, 1690. 
Vallini Giulio, 18th cent. 
Violcete Giov. Casparo, 1655. 

Gazzola Prosdocimo, b. 1822, d. 1884. 
Miari Noe, 1930. 

Pedrinelli Antonio, b. 1781, d. 1854. 
Terresan Antonio, b. 18U2, d, 1872, 
Coni (Guneo): 

Sorsano Spirito, 1714—1736. 

Borio Franc. Antonio, 1737. 
Emboli: Puccini Eligio, b. 1900. 

Ungarini Antonio, b. 1696, d. 1771. 
Unganni Raynoldo, 18U0, 18U6. 
Faenza (Ravena): 
Baldini Ugo, b. 1878. 
Lassi Enzo, b. 1927. 
Lassi Francesco, 1937. 
Lucarini Vincenzo, 1803—1820. 
Menichetti Luigi, 1851. 
Paganini Luigi, b. 1838, d. 1914. 
Pasio Ildebrando, 18th cent. 
Fanasio: Dinelli Carlo, 1887. 
Fano: Ronchino Ratfaelle, 1851. 

Postachini Andrea, 1780-1857. 
Postachini Andrea, 1810-1857. 
Postachini Raph., 1823-1892. 

Antonio dai Liuti, 1475. 

Battioni Alberto, 1884. 

Calabri Pier Vittorio di, 1549-1551. 

Cricca Alfonso, 1591. 

Cricca Giulio, 1594. 

Dagli Instrumenti Marco, 1541. 

Dal Chittarrino Biagio, 1445—1446. 

Dall'Hocha Casparo, 1568. 

Dominicelli of Brescia, 1695—1715. 

Fiorillo Giovanni, 1780. 

Fontana Giovanni, 1568. 

Gelmini Geminiano, 1508. 

Giamberini Giov. Lodovico, 1550. 

Gotti Anselmo, b. 1902. 

Grancino Giovanni Battista, 1669—1710. 

Grappelo Giovanni Marco, 1566. 

Gricca Alfonso, 1591. 

Guarino Battista, 1445. 

Legnani Rinaldo Luigi, b. 1790, d. 1877. 

Marconcini Gaetano, 1830. 

Marconcini Giuseppe, 1774—1841. 

Marconcini Luigi, 1760—1791. 

Marconi Luigi, 1768. 

Melatti Luigi, 19th cent. 

Mezzadri Alessandro, 1690—1732. 

Mezzadri Francesco, 1700—1758. 

Orselli Enrico, b. 1891. 

Pareschi Gaetano, b. 1900. 

Pazzagola Francesco, 1577. 

Pazzagola Giovanni, 1580. 


Petrobono del Chitarino, 1445, 1446. 

Pevere Ernesto, b. 18i)l. 

Piarino Marco, 1591. 

Polverino Rinaldo, 1467. 

Sottritti tttore, b. 1877, d. 1928. 

Softritli Luigi, 19th cent. 

Virchi Giovanni Paolo, 1560-1612. 
Finale Emilia (Modena): 

Bizzi Egidio fu Giov., 20th cent. 

Fattorini Francesco, 1854. 

Penza Antonio, 1875. 

Sgarbi Giuseppe, 1770-1805. 

Zucchi Giovanni, 1890. 
Fiorano (Modena); 

VandeUi Giovanni, b. 1796, d. 1839. 


Martini Oduardo, 1880-1930. 

Merosi Giuseppe, 1846. 
Fumalba (Modena): 

Berti Giuseppe, 19th cent. 
Fiume: Landi Nazareno, 1889. 

Anselmo Pietro, 1730-1760. 

Arcangioli Lorenzo, 1825—1849. 

Ballerini Pietro, 1900. 

Belasqua (Belagua), 13th cent. 

Bargelli Giuseppe di Saladino, b. 1886. 

Bianchi Giovanni, 1746-1757. 

Bianch Nicolo, b. 1795, d. 1881. 

Bimbi Bartolomeo, 1750-1769. 

Birmetti Giambatista, 18th cent. 

Bisiach Carlo, b. 1892. 

Bomberghi Lorenzo, 17th cent. 

Bratti Cesare, 1830. 

Buonfigliuoli Pier Francesco, 17th cent. 

Camberini Giambatista, 18th cent. 

Carcassi Antonio Felice, 1773. 

Carcassi Francesco, 1735—1760. 

Carcassi Giovanni, 1688 — 1698. 

Carcassi Lorenzo, 1775. 

Carcassi Lorenzo & Tommaso C, 1745—67. 

Carcassi Salvatore, 1802. 

Carcassi Tommaso, 1747—1786. 

Carcassi Vincenzo, 1790. 

Carotti C, 1694. 

Casaltoli Giuseppe, 1714. 

Casini Lupo, b. 1896. 

Casini Serafino, b. 1863. 

Castellani Bartolomeo, 1806—1820. 

Castellani Luigi, b. 1809, d. 1884. 

Castellani Pietro, b. 1780, d. 1820. 

Castellani & Figho, 1900. 

Cati Pierantonio, 1738 — 1760. 

Cellini Giovanni, b. 1460, d. 1527/28. 

Chianchi Sibast. di Rocco, 1662. 

Chiodi Giambatista, 19th cent. 

Conti Luigi, b. 1891. 

Coti David, 19th cent. 

Cristofori Bartolomeo, b. 1667, d. 1731. 

Crugrossi Vincenzo, 1767. 

Decaniis Nunzio, 1789. 

De Zorzi Valentino, b. 1837, d. 1916. 

Doni Giambattista, 1635—1663. 

Doni Rocco, 1600-1660. 

Eberspacher Bartolomeo, 17th cent. 

Ferroni Fernando, b. 1868, d. 1949. 

Fiorillo Giovanni, 1780. 

Floriani Benedetto, 1558-1571. 

Franco Stefano, 1686-1692. 

Fredimaur Joannes Battista, 1740 — 1750. 

Gabrielh Antonio, 1760. 

Gabrielli Bartolomeo, 1730. 

Gabrielli Giovanni Battista, 1739-1770. 

Gabrielh Christoforo, 1730. 

Gabrielh Christoforo, 1937. 

Galbani Pietro, 1640. 

Galbicelhs Giambattista, 1750. 

Galtani Rocco, 17th cent. 

Gazzeri Domenico, 1682. 

Giamberini Alessandro, 1771. 

Giamberini Giovanni Lodovico, 17th cent. 

Giamberini Simone, 1772. 

Griseri Filippo, 1650. 

Landius Francesco, 1325—1397. 

Leni Francesco, 17th cent. 

Lignoli Andrea, 1681. 

Lybeert Alessandro, 1899. 

Malvolti Pietro Antonio, 1700-1733. 

Martini Luigi, 1635. 

Maurizi Fratelli, 19th cent. 

Maurrizi Fratelh, 1899. 

Mazzotti Jacopo, 1699. 

Messini Girolamo, 1687. 

Migliai Antonio, 1682-1703. 

Minelli Lorenzo, 1664. 

Montelatici Filippo, 1697. 

Mori Otello, b. 1907. 

Naldi Antonio, 1550. 

Nigetti Francesco, 1645 — 1682. 

Nobili Antonio Francesco, 1693. 

Noverci Cosimo. 1662. 

Paganini G. S., b. 1870, d. 1913. 

Paganini Nicolo, b. 1784, d. 1840. 

Paoletti Vezio Silvio, b. 1883. 

Pardini Bastiano, 17th cent. 

Passaponti Giovanni, 1750. 

Pazzini Giovanni Gaetano, 1630—1666. 

Perugia Fernando del, 1888-1899. 

Piattellini Alvisio, 1790. 


Piattellini Gasparo, 1738-1780. 

Piattellini Luigi, 1789-1821. 

Picinetti Giovanni, 1677-1682. 

Planta Ulrico, 1838. 

Pucci Dante, b. 1876. 

Reynaldis Francesco de, 1508. 

Riceverti (Ricevuti) Aurelio, 1650. 

Ristorini Gianfrancesco, 1678. 

Roccus P. Domenico, 1696. 

Sangelia Lorenzo, 1777. 

Saraceni Domenico, 1655. 

Saraceni Giambattista, 1667. 

Scarampella Giuseppe, b. 1838, d. 1885. 

Sderci Igidio, 1937. 

Sderci Nicolo Igidio, b. 1884. 

Seni Francesco, 1634. 

Serri Pietro, 1730. 

Siani Valentino, 1630-1640. 

Signorini Serafino, 1875. 

Sostegni Salvatore, 1704. 

Suover Giovanni, 1637. 

Toralba, 13th cent. 

Vangelisti Pier Lorenzo, 1700—1745. 

Vanucchi Nicolo, 1703. 

Venzi Andrea, 1636. 

Vettori Dario, 1903. 

Vincenti M., 1830. 

Vivoli Giovanni, 1642. 

Zimbelmann Filippo, 1661. 

Zolfanelli Giuseppe, 1690-1697. 

Brizano Vincenzo, 1860. 

Battioni Alberto, 1885. 

Battioni Marc Antonio, 19th cent. 

Fedeli Giuseppe, 19th cent. 

Barbieri Armando, 20th cent. 

Battioni Marc. Ant., 19th c. 

Garbo Giovanni, 1785. 

Mambelli Guido, b. 1904. 

Pafuni Francesco, 1756. 

Paganini Alba, 20th cent. 

Paganini G. S., b. 1870, d. 1913. 

Paganini Luigi, b. 1838, d. 1914. 

Paganini Mario, b. 1896. 

Tramonti Rodolfo, b. 1901. 

Costa Antonio, b. 1891. 

Battani Antonio, 19th cent. 
Fumalba (Modena): 

Berti Giuseppe, 19th cent. 
Gaggio di Piano (Modena): 

Pellacani Giuseppe, b. 1900. 

Gajato (Modena): 

Micheli Giuseppe, 1884-1894. 
Galtea (Forli): 

Galassi Gioacchino, 1937. 

Ansoldo Rocco, 1760. 

Barbieri Paolo (de), b. 1889. 

Barbieri R. 

Bellafontana Lorenzo, b. 1906. 

Bianchi Nicolo, b. 1796, d. 1881. 

Calcagni Bernardo, 1710-1750. 

Candi Cesare, b. 1869, d. 1947. 

Castello Paol, 1750-1780. 

Cavaleri Giuseppe, 1732 — 1747. 

Cordano Giacomo filippo, 1750—1780 

Cortese Andrea, b. 1889. 

De Barbieri Paolo, 1937. 

Erhard Paul, 1690. 

Gambino Sebastiano, 20th cent. 

Gibertini Antonio, 1797-1850. 

Giordani Enrico, 1937. 

Gratiani Giuseppe, 1762. 

Guidante Bernardo, 1750. 

Heel Martino, 1697-1706. 

Lecchi Giuseppe, 1937. 

Lecchi Giuseppe, b. 1895. 

Lodovico, 18th cent. 

Molia Angelo, 1758, 1760. 

Montefiori Erminio, 1860. 

Pacherle Pierre, b. 1803, d. 1871. 

Pazarini Antonio, 1720—1744. 

Pizzurno Antonio, 1760. 

Pizzurno Davide, 1760, 1763. 

Plani Agostino de, 1750-1778. 

Praga Eugenio, b. 1847, d. 1901. 

Rastelli, 1882. 

Ritti? Cristoforus, 1680-1692. 

Rocca, 1762. 

Rocca Enrico, b. 1847, d. 1915. 

Rocca Giuseppe, 1854. 

Rocca Giuseppe Antonio, b. 1810, d. 1868. 

Socol Pio, 19th cent. 

Statler Andrea, 1715. 

Zanier Feruccio, 1937. 

Zelas Michael, 18th cent. 

Gomel Stefano, 1937. 

Franchi Galliano, 1937. 

Pellizon Antonio, 1759-1850. 

Pellizon Antonio, 1815-1869. 

Pellizon Carlo, 1811-1891. 

Pelhzon Filippo, 1817-1897. 

Pellizon Giuseppe, d. 1874. 
Gradisca (Gorice): 

Guargnal Rodolfo, 1937. 


Guastalla (Mantova): 
Mellini Giovanni, 1768. 
Polli Francesco, 1616. 
Gubbio (Perugia): 
Lepri Luigi, 1880. 
Naffisi Carlo, 1867. 
Nardelli Michelangelo, 1850. 
Nastesi Valento. 
Pieroni Luigi, 1833-1847. 
Pierotti Luigi, 1787-1823. 
Guiglia (Modena): 

Pianazzi Domenico, 1760 — 1780. 
Chiaggio (Arezzo): 
Giacomo, 1346. 
Giacomo, 16th cent. 
Wagner Dom. Casp., 1725. 
Chiavari (Genea): 

Castagnino Giuseppe, 20th cent. 
Chieti (Abruzzio): 

Maviglia Francesco, b. 1902. 
Muzio Francesco di, 1830, 1838. 
Iddiano (Modena): 

Cornia Giuseppe, 1884-1894. 
Imola (Bologna): 
Berati, 1760-1784. 
Contavalli Luigi, b. 1862. 
Contavalli Prime di Luigi, b. 1899. 
Jesi (Ancona): 

Giombini Egio, b. 1907. 

Raynaldi Antonio, 1517. 
Lauria (Potenza): 

Alagio Nicola, b. 1879. 
Lavagna (Genoa): 

Ravena Giovanni Battista, 19th cent. 
La-Valetta (Island of Malta): 

Tonna, 1850. 

Milella Giuseppe. 
Milella Vito, 1870-1880. 
Lentigione di Brescello: 

Vaccari Raffaele, b. 1908. 

Bastogi Gaetano, 18th cent. 
Compare Vittorio, 1898. 
Dulfenn Alexander, 1689—1700. 
Giraniani (Gragnani?), 1730. 
Gragnani Antonio, 1740 — 1800. 
Gragnani Gennaro, 1730. 
Gragnani Jacopo, 1743. 
Gragnani Onorato, 1785 — 1799. 
Livorno Vincenzo da, 1862. 
Locchi Gius, Bern., b. 1895. 
Magri Francesco, 1766 — 1784. 
Meiberi Francesco, 18th cent. 


Baroncini Michele. 
Zanotti Antonio, 1709-1740. 

Chiavellati Domenico, 1780-1796. 

Amighetti Giacomo, 1914. 

Campetti Lorenzo, 1833. 
Davini Giusto, 19th cent. 
Faustino, 17th cent. 
Gentile Michele, 1883. 
Giovanetti Leonardo, b. 1816, d. 1884. 
Giovanetti Luigi, 1840. 
Giusti Giovanni Battista, 1682-1693. 
Maffei Lorenzo, 1767-1787. 
Palma Paolo, 1760. 
Peregrino Giovanni, 1689. 
Spelta Osvaldo, 1937. 
Storino Giovanni, 1725. 

Dini Giovanni Battista, 1700-1707. 

Andina Francesco, b. 1891. 
Lubino, 1750. 
Vistoli Luigi, b. 1890. 

Rasura Vincenzo, 1785. 
Vistoh Luigi, b. 1890. 
Macerata near Ancona: 

Finoravanti Andrea, 1741 — 1747. 
Norfi Floriano, b. 1922. 

Milandri Galiano, 1930. 
Malo (Vicenza): 

Boriero Alfonso, 19th cent. 
Mancasale (Reggio): 

Gallingani, 19th cent. 

Albani Nicolo, 1763-1770. 
Bachetta Giuseppe, 1780. 
Baccani Stefano, 19th cent. 
Balestrieri Tommaso, 1720—1790. 
Barbieri Francesco, 1695—1750. 
Bonoris Cesare, 1568. 
CamilU Camillos, 1704-1754. 
Coppi Sante de, 1800-1817. 
Dalla Costa Pietro Antonio, 1700-1768. 
Ball Aglio Giuseppe, 1723-1775. 
Ball Aglio Giuseppe, 1795-1840. 
Bardelli Fra Pietro, 1497-1500. 
DioneUi Gaetano, 1865-1869. 
Gadda Gaetano, b. 1900. 
Grancino Giovanni Battista, 1727. 
Guarneri Pietro, b. 1655, d. 1728. 


Legnamaro Pietro, d. 1569. 

Luppi Giovanni, IQih cent. 

Martini Oreste, b. 1893. 

Morella Morglato, 1545-1602. 

Mutti Vittorio, b. 1903. 

Pesseti Giovanni Battista, 1674. 

Raccoris Nicolo, 1760. 

Scarampella Stefano, b. 1843, d. 1927. 

Simonis Loreto, 1800. 

Smith Domenico, 1647. 

Solferini Remo, b. 1882. 

Soliani Angelo, 18th cent. 

Stefanini Carlo, 1764-1790. 

Taitelli Alessandro, 1619. 

Targhetta Carlo, 16th— 17th cent. 

Virchi Giovanni Paolo, b. 1552, d. 1612. 

Zanotti Antonio, 1709-1740. 

Zanti Alessandro, 1765-1819. 
Marano sul Parano (Modena): 

Obici Prospero, 1880. 

Saltinari Giacomo, 1880. 
Mariano Comense (Como): 

Erba Carlo, b. 1907. 

UsuelU Eraldo, b. 1879. 

Pellacani, b. 1900. 
Mercato Cilenico: 

De Luccia Gennaro, b. 1901. 

Chiarelli Andrea, b. 1675, d. 1699. 

Gastono Antonio, 1890, 1896. 

Grinaldi Carlo, 1681. 

lonata Luigi, b. 1883. 

Lazzaro Giov., b. 1913. 

Pettinato Pietro, b. 1883. 

Spadaro Bertuccio, 19th — 20th cent. 

Airaghi Cesare, 1883. 

Albani Giuseppe, 1701. 

Albani Nicolo, 1763-1770. 

Alberti Fernando, 1730-1769. 

Albertini Carlo, b. 1866, d. 1940. 

Allegri Giovanni, 1714. 

Angiollo Luigi fu Giacinto, 20th cent. 

Antolini Francesco, 19th cent. 

Antoniazzi Riccardo, 1886—1910. 

Antoniazzi Romeo, b. 1862. 

Arassi Erezzo, b. 1889. 

Arienti Carle Giuseppe, 1810—1863. 

Artalli Giuseppe Antonio, 1765. 

Artioli Antonio, 1880. 

Auciello Luigi, b. 1881. 

Auria Fratelli. 

Bajoni Luigi, 1838, d. 1878. 

Balcaini, 18th cent. 

Barnia Fedele, 1760-1780. 

Baliazza Antonio Maria, 1707. 

Battagiia Anlonio, 1757—1766. 

Ballone Pietro Antonio, 1691 — 1708. 

Bendini Pietro Antonio, 1691-1708. 

Bendini Giambattista, 1668. 

Benettini, 1868. 

Benito Antonio, 1664. 

Bisiach Giacomo, b. 1900. 

Bisiach Leonardo, 1890-1914. 

Borgia Antonio, 1769. 

Bozzolo Pietro, b. 1830, d. 1907. 

Bortolotti Luigi, 1815. 

Bresa Francesco, 1700-1708. 

Broga Francesco, 18th cent. 

Cabroli Lorenzo, 1716. 

Capo, 1717, 1718. 

Carlo Giuseppe, 1769. 

Colombo Camillo, 1937. 

Compostano Antonio, 1699—1710. 

De Peccati Umberto, 1937. 

Farotti Celeste, b. 1864, d. 1928. 

Farotto Celestino, b. 1905. 

Farotto Salvatore, b. 1875. 

Finolli Giuseppe, 1750, 1755. 

Fiscer Carlo Vincenzo, 1770. 

Fiscer Giuseppe, 1760, 1764. 

Flarotti Celeste, 20th cent. 

Galbusera Carlo Antonio, 1813—1833. 

Galimberti Luigi, b. 1888. 

Gatti Angelo, 1937. 

Giacinti Celeste, 20th cent. 

Gianoli Domenico, 1731. 

Giuhetti Armando, b. 1903. 

Giulietti Tullio, b. 1873, d. 1933. 

Gramino Giovanni, 1722, 1724. 

Grancino Andrea, 1646. 

Grancino Francesco, 1690—1746. 

Grancino Giovanni, 1675—1737. 

Grancino Giovanni Battista, 1669—1710. 

Grancino Giovanni Battista, 1697—1735. 

Grancino Gramino, 1722. 

Grancino Paolo, 1665—1692. 

Guadagnini Giovanni Battista b. ca 1711, d. ca 1786. 

Guadagnini Giuseppe, b. 1736, d. ca 1805. 

Isep Carlo Giuseppe, 1800. 

Landolfi Carlo Fernando, b. 1714, d. ca 1787. 

Landolfi Pietro Antonio, 1750-1800. 

Lavazza Antonio Maria, 1703—1722. 

Lavazza Santino, 1634. 

Lavazza Santino, 1718 — 1780. 

Laviguetta Antonio, 1900. 

Leoriporri Giovanni Francesco, 1755, 1759. 

Luppo Francesco Antonio, 1716. 

Malagutti Arminio, b. 1914. 


Manfredini Eros, 1940. 

Mantegazza Carlo, 1760. 

Mantegazza Francesco, 1747—1760. 

Mantegazza Giovanni, 1760—1790. 

Mantegazza Pietro Giovanni, 1750—1790. 

Manzone Giovanni, 1624. 

Marafi Ambrogio, 18th cent. 

Marchetti Abbondio, 1815-1840. 

Martineghi Marcello, 1937. 

Mazzochi A., 1901. 

Meloni Antonio, 1690—1694. 


Merighi Antonio, 1800. 

Mezzadri Francesco, 1700—1758. 

Milani Francesco, 1742 — 1751. 

Milani Giuseppe Carlo, 1769. 

Montanari Luigi, d. 1908. 

Montani Costante. 

Monzino Antonio, 1725 — 1800. 

Monzino Antonio, 1799-1872. 

Monzino Antonio, 1847-1930. 

Monzino Antonio, 1885—1918, 

Monzino Antonio, b. 1909. 

Monzino Giacomo Antonio, 1772 — 1845. 

Monzino & Figli. 

Moretti Antonio, 1730. 

Mussolessi Giuseppe, 1940. 

Novelli Natale, b. 1908. 

Ornati Giuseppe, 1937. 

Pasta Bartolomeo, 1681. 

Pedrazzini Giuseppe, b. 1879. 

Poll Giovanni, 1850-1882. 

Ponzi Giulio, 1850. 

Posta Cristofano, 1666. 

Presbler Francesco, 1730 — 1773. 

Presbler Giuseppe, 1760-1801. 

Ravizza Carlo, b. 1882. 

Ricordi Giovanni, d. 1853. 

Rivolta Giacomo, 1800-1834. 

Rossi Gaetano, 19th cent. 

Rossi Nicola, 1842, 1844. 

Rovescalli Azzo, b. 1880, d. 1941. 

Rovetta Antonio, 1840-1884. 

Saconi Benigno, 1910. 

Salvaterra Francesco, 1609. 

Santo Santino, 1684-1700. 

Sassi Alessio, 1784. 

Schiavoni TuUio, 1939. 

Scoti Antonio, 1733-1747. 

Scrosati Giovanni Domenico, 1775. 

Sgarabotto Gaetano Caval., b. 1878. 

Sironi Ambrogio, b. 1901, d. 1934. 

Smit Giovanni, 1646. 

Tanegia Carlo Antonio, 1725—1731. 

Tarasconi Giuseppe, 1888—1908. 

Tarasconi Mirco, 20th cent. 

Terrana Gerlando, b. 1909. 

Testator Vecchio il., 16th cent. 

Testore Carlo Antonio, b. 1688, d. 1764. 

Testore Carlo Giuseppe, b. 1660, d. 1737. 

Testore Gennaro, 1767. 

Testore Giovanni, 1764. 

Testore Paolo Antonio, 1690-1750. 

Tiefenbrucker Jacomo, 18th cent. 

Ullmann Georg, b. 1879. 
• Vascallo Giovanni, 18th cent. 

Ventura Annibale, 1740. 

Ventura Antonio, b. 1910. 

Ventura Enrico. 

Vimercati Gasparo, 1766. 

Worschel Antonio, 1697. 

Zanardi Giuseppe, 1937. 

Zerboni Antonio, 1829. 

Ferri Frimo, 1848-1850. 

Abbati Giambattista, 1755—1795. 

Adani Pancrazio, 1770-1820. 

Baraldi Alfonso, 1879-1891. 

Bertani, 19th cent. 

Bonardi Domenico, 1728. 

Borghi Pietro, 1893-1921. 

Bragha Antonio, 1790-1820. 

Braidi Geminiano, 1794. 

Braidi Giovanni, 1766. 

Calori-Stremiti Eugenio, 1840. 

Cassini A., 1630-1710. 

Cristoni Eusebio, 1847-1883. 

Despines G., 1774. 

Dodi Giovanni, 19th cent. 

Dodi Fratelh, 19th cent. 

Faustino Luca, 17th cent. 

Fiori Andrea, b. 1796, d. 1870. 

Fiori Gaetano, 1798-1872. 

Gavoni Antonio, 1777. 

Gianni Alessio, 1793. 

Gibertini Giuseppe, 1800. 

Guerra Giacomo, 1810. 

Heisele Jacob, 1614, 1619. 

Jori Ensa, b. 1891. 

Jori Orlando, b. 1915. 

Lancilotto Jacopino, 1507—1551. 

Lecchi Enrico, 1885. 

Lucci Giuseppe, b. 1910. 

MalagoU Eleuterio, d. 1827. 

Malagoli Folgenzio, 1856. 

Manfredi Francesco, b. 1902. 

Mani Paolo, 1809, 1811. 

Manni Pietro, 1827. 

ManteUi, 18th cent. 


Manzini Lodovico, b. 1804, d. 1878. 
Martinelli, 17th cent. 
Marverti A., 1834. 
Messori Pietro, b. 1870. 

Montanari Enrico. 

Mucchi Antonio, 1800, d. 1883. 

Muzzarelli Demetrio, 1880. 

Parmeggiani Romolo, b. 1888. 

Pasio Lodovico, 1506. 

Piccagliani Armando, 1879—1945. 

Piccagliani Antonio, b. 1914. 

Piva Giovanni, 1860-1880. 

Pollastri Antonio, 1765 — 1800. 

Pollastri Giuseppe, 1764-1783. 

Richter, 1808. 

Righi Antonio, 1817. 

Rinaldi Celeste, 1878. 

Rossi Fernando, 1880. 

Saratelli Carlo Antonio, 1913. 

Segizo Girolamo Maria, b, 1503, d. 1553. 

Seraphin Giorgio, 1841-1887. 

Sgarbi Giuseppe, 1818-1905. 

Soliani Angelo, 1752-1810. 

Strauch Matteo, 1640. 

Tadolini Giuseppe, b. ca 1796, d. 1870. 

Tadolini Ignazip, b. 1797, d. 1873. 

Tantino Constantino, 15th cent. 

Tantino Giovanni, 1475. 

Tantino Sesto, 1461-1490. 

Termanini Giuseppe, 1755 — 1773. 

Termanini Pietro, 1755-1773. 

Tomasi Carlo Gasparo, 17th or 18th cent. 

Valdastri, 1805. 

Vecchi Orazio, 1880. 

Verini Andrea, 1884. 

Zanfi Giacomo, b. 1756, d. 1822. 

Zanotti Christofano, 1685. 

Zoccoli Pietro, 1753. 
Molina di Fiemma (Rovereto): 

Cavada Fortunato, 1937. 
Molise (Campobasso): 

Jorio Giorgio fu Luigi, 1937. 

Degani Domenico, 1820, d. 1887. 

Piotti, 19th cent. 

Saretta Giuseppe, b. 1894. 
Montegno (Sondrio): 

Gerosa Giovanni, 1937. 
Mont - Orsello: 

Bertucci D. Giuseppe, 1741-1777. 
Mont Or so (Modena): 

Cioni Emiho, 1884-1894. 

Scarabelli Agostino, 1884, 1894. 

Soncini Luigi, 1831. 


Abbate Alessandro, 1890-1899. 

Abbate Alfonso, 1845. 

Abbate Luigi, 1860. 

Ambrosio d'Antonio, 1820. 

Arezzo Nicolo, 20th cent. 

Avellano e figlio, 1894. 

Avenia d'L., 1888, 

Bairhoff Giorgio, 1757-1786. 

Blasio Raffaele di, 18th cent. 

BoUi, 1897. 

Botello Angelo, 1857. 

Calace Antonio, 1828-1875. 

Calace Giuseppe fu Raffaele, 20th cent. 

Calace Nicola, 1881-1903. 

Calace Raffaele, b. 1863, d. 1934. 

Cardillo Luigi, 1790-1799. 

Carone Giuseppe, 1883. 

Celentano Michael. 

Circapa Tommaso, 1730, 1735. 

Contino Alfredo, b. 1890. 

Coppo Armando, 1608. 

Coppo Raffaele. 

Costa Alfonso della, 1876. 

Cristofaro E. de, b. 1870. 

Curatoli Alfredo, 1885. 

Curatoli Antonio, 1900. 

Dalla Corte Alfonso, 1828-1882. 

D'Ambrosio Antonio, 1817. 

D'Avenia Carlo, 1788. 

D'Avenia L., 1888. 

De Blosij Nicolo, 1795. 

De Luccia Matteo, 1819-1877. 

De Luccia Michele, b. 1924. 

Desiato Giuseppe, 1890-1906. 

Desiato Luigi, 19th cent. 

Desiato Vincenzo, 1855. 

Dinacci Antonio, 19th cent. 

Donozetto Pietro, 1789. 

Eberle Tommaso, 1760-1792. 

Enrico Giovanni di, 1590-1608. 

Esposito Giosue, 1890, 1900. 

Fabricatore Gennaro, 1773 — 1832. 

Fabricatore Giovanni Battista, 1780—1811. 

Fabricatore Pietro, 1780-1799. 

Fabricatore Vincenzo, 1770. 

Ferrer Antonio, 1481. 

Filano Antonio, 1787. 

Filano Donato, 1763-1783. 

Filano Giuseppe, 1785-1797. 

Filano Luigi, 1821, 1832. 

Gagliano Alberto, 1877. 

Gagliano Alessandro, b. 1660, d. 1725. 

Gagliano Antonio, b. 1728, d. 1795. 

Gagliano Antonio, b. ca 1794, d. 1860. 


Gagliano Fernando, b. 1724, d. 1781. 

Gagliano Gaetano, b. ca 1770, d. 1824. 

Gagliano Gennaro, 1700-1770. 

Gagliano Giovanni, 1800-1867. 

Gagliano Giuseppe, 1725—1793. 

Gagliano Joannes (Giovanni I), 1740, d. 1806. 

Gagliano Nicola fil. Alessandro, b. 1670, d. ca 1740, 

Gagliano Nicola, 1793-1826. 

Gagliano Raffaele, b. 1790, d. 1857. 

Gagliano Vincenzo, 1870-1886. 

Galiani Alexander. 

Galieri Filippo, 18th cent. 

Gamboni, b. 1724, d. 1814. 

Garani Nicola, 1700. 

Gardelli Federico, 1880-1900. 

Gerani N., 1790-1830. 

Grado Gaetano da. 

Grossi Gualterio de. 

Jorio Vincenzo, 1780—1849. 

Kasermann Giovanni, 1937. 

Legnani Luigi, 1765. 

Locicero Luciano, 1830. 

Lolij Jacopo, 1727. 

Loveri Carlo, 1881-1898. 

Loveri Diego, b. 1884. 

Loveri Giuseppe, 20th cent. 

Magnus Antonio, 18th cent. 

Man Hans, 1710-1750. 

Mango-Longo, 1749. 

Maratea Domenico, 1887—1900. 

Maratea Michele, 19th cent. 

Maratea Michele e Domenico e figli. 

Maria Giuseppe da. 1770, 1779. 

Micle Gennaro, 1823. 

Monachini Francesco, 1725. 

Moreno Arturo. 20th cent. 

Moro Vito, 1883. 

Obbo Marco, 1712-1727. 

Obbo Marco, 1803. 

Odani Giuseppe Morello, 1738. 

Paoli Luigi, b. 1903. 

Pellecchio Francesco, b. 1890. 

Picino Giuseppe, 19th cent. 

Pistucci Giovanni, b. 1864. 

Popella, 17th cent. 

Postialione Vincenzo, b. 1835. 

Postiglione Vincenzo, 19th cent. 

Ranaldi Antonio, 1898. 

Ricci Luigi, 1898. 

Rosa Nicola, 1680-1720. 

Rubino Gennaro, 1899. 

Sagliocco Ed. & Co. 

Santo Giovanni, 1700-1740. 

Seraphine G., 1900. 

Serosati Domenico, 1710—1775. 

Steger Lucas, 17th cent. 

Tenzel Benedict, 1717. 

Tolino Giuseppe, 19th cent. 

Tonelli Pietro, 19th cent. 

Trapani Raffaele, 1800. 1826. 

Ventapane Giuseppe, 19th cent. 

Ventapane Lorenzo, 1809-1828. 

Ventapane Pasqual, 1740—1801. 

Ventapane Vincenzo, 1750—1799. 

Verzella Francesco, b. 1864. 

Vinaccia Antonio, 1734—1781. 

Vinaccia Antonio, 1754—1781. 

Vinaccia Domenico, 1780. 

Vinaccia Gaetano, 1779-1821. 

Vinaccia Gaetano, 1914. 

Vinaccia Gennaro, 1755—1778. 

Vinaccia Giovanni, 1767, 1777. 

Vinaccia Giuseppe, 1914. 

Vinaccia Mariano. 1796. 

Vinaccia Nicolo, 1715. 

Vinaccia Nicolo. 1775. 

Vinaccia Pasquale, b. 1806. d. ca 1881. 

Vinaccia Vincenzo, 1769—1785. 

Vinaccia Fratelli (Gennaro & Achile). 
Necetto (Parma): 

Scrollavezza Renato, b. 1927. 
Nomi (Trento): 

Vinotti Gpsualdo, b. 1911. 
Novara (Milan): 

Tarotanus Antonius. 1623. 

Torossi Cfsare, 1841-1846. 
Novellara (Modena'): Rizzoti Nicola. 1880. 
Osimo (Ancona): Giacco Antonio, 1928. 
Ostia (Brescia): 

Geroni Domenico, 1800-1820. 
Ostiano (Cremona) : 

Reeonini Domenico, b. 1929. 
Ostislia (Mantova): 

Telesi Senofonte, 1937. 

Attore Michele, 1583-1620. 

Bagatella Antonio, b. 1755, d. 1829. 

Bagatella Pietro, 18th cent. 

Bagoletto A., 1782. 

Barrata Ermentoli, 17th cent. 

Bergamo Domenico, fu Giacoma, 20th cent. 

Branzo Francesco Barbaro, 1620 — 1660. 

Calzavara Santo, 1764. 

Centurio Giuseppe, 1750-1780. 

Chiocchi Gaetano, b. 1814. d. 1880. 

DairOgho Domenico, b. 1700, d. 1765. 

Danieh Giovanni, 1745-1785. 

Deconeti Michele, 1752-1795. 

Dinumerato Giovanni, 1661. 

Galieri Giuseppe, 1753. 


Giovanni Antonio, 1744. 

Gorrieri Antonio, 1802. 

Harton Michael, 1602-1624. 

Jansen Andrea, 1629. 

Kayser Georgio, 1595. 

Krebar Andrea, 16 — 17th cent. 

Krebar Giovanni, 1629. 

Lanaro Luigi, b. 1920. 

Linarolo Ventura, 1577—1591. 

Longo Mangno, 1599. 

Mancini Ventura, 1678. 

Martino 1572. 

Meneghesso Pietro, d. ca 1939. 

Meneguzzi Carlo, 1884. 

Moro Bartolomeo, 1678. 

Mosca-Cavelli C., 1726. 

Muratori Rocco, 1704. 

Obizzi Tommaso Marchese degli, 1769. 

Oglio Domen. dall, 1700-1765. 

Palmerio Matteo, 1743-1759. 

Picino Carlo, 1726. 

Railich Giovanni, 1672-1678. 

Railich Pietro, 1644-1670. 

Rochi Christofilo, 1620. 

Spilman Dorigo, 1591. 

Tiburtinus Giuseppe, 1780. 

Tieffenbrucker Leonardo, 16th cent. 

Tieffenbrucker Vendelino, 1572—1611. 

Trentin Gregorio, 1768-1854. 

Valenciano Maria, 1764. 

Verle Francesco, 1590, 1600. 

Wenger Ben Delio, 1622. 

Zanoli Giacomo, 1740-1757. 

Agostini Sante, 1822. 

Agostino Nicolo d', 19th cent. 

Albani Michele, 18th cent. 

Albani Paolo, 1630-1695. 

Averna Alfonso. 

Averna Alfredo, 1937. 

Averna Enrico, 20th cent. 

Casiglia Casimoro, 1869. 

Di Leo Camillo, 20th cent. 

Di Leo Domenico, b. 1878. 

Di Leo Domenico. 

Liverani Ettore, 1937. 

Megazzi Enrico, 1830. 

Panormo Vincenzo, b. 1734, d. 1813. 

Perollo Luigi, 1894. 

Ragona Pietro, 1840. 
Selva Giuseppe, b. 1904. 
Sgarbi Antonio, b. 1866. 

Borelli Andrea, 1720-1746. 
Borelli Antonio, Cesare, 1792. 

Broschi Carlo, 1730-1744. 

Costa Felice Mori, 1802, 1812. 

Galli Domenico, 1687-1691. 

Ghidini Carlo, 1746-1773. 

Gibertini Antonio, 1797-1866. 

Gisalberti Andreas, 1716, 1721. 

Guadagnini Giovanni Battista, 1685—1770. 

Guadagnini Giovanni Battista, 1711 — 1786. 

Guadagnini Giuseppe, 1736—1805. 

Leoni Fernando, 1816. 

Leoni Giovanni, 1870. 

Mancini Ventura, 1678. 

Mantovani, 16th cent. 

Mantovani Alessandro, 1853—1858. 

Merighi Pietro, 1770. 

Pellegri, 19th cent. 

Realli Cosma Battista, 1667. 

Sgarabotto Gaetano, b. 1878. 

Sgarabotto Pietro, b. 1903. 

Sgarbi Antonio, b. 1866. 

Ventura Giovanni, 1622. 

Zillioli Domenico, 1792. 

Alberti Adalberto, 1920. 

Catenaro Gaetano, 1639—1670. 

Guadagnini Giuseppe, 1736—1805. 

Gusnasco Lorenzo, 1500. 

Lorenzo Laurentius, 1497 — 1510. 

Romano Pietro, 18th cent. 

Rosadoni Giovanni, b. 1905. 

Rossi Enrico, b. 1848. 

Rossi Giovanni, 1847-1858. 

Rossi Guglielmo, 1875-1949. 

Rossi Guglielmo, b. 1875. 

Salviati Armando. 

Sneider Joseph, 1701, 1718. 

Vigoni A., 19th cent. 

Fiorani Vincenzo, 1855. 

Gavelli Giacomo, 1797. 

Palla Vincenzo, 1790. 

Pallotta Pietro, 1788-1831. 

Pierotti Luigi, 1787-1833. 

Assalone Gasparo d', 1690-1740. 


Bertucci Costantino, b. 1860, d. 1930. 

Brandini, 1660. 

Carlo da Pesaro, 1682. 

Cortesi Carlo, 1612. 

Domenico, 1522-1548. 

Felipuci Pier Lodovico, 1660. 

Forni Stefano, 1666. 

Mariani Antonio, 1636—1680. 


Mariani Fabio, 1679. 

Mariani Lodovico, 1692. 

Orselli Enrico, b. 1891. 

Rollini Giambattista, 1471. 

Sacchini Sabattine, 1670, 1686. 

Sante, 1670. 

Spadari Francesco, 1603—1670. 

Spadari Giovanni Battista, 1721. 

Palumbi Bernardino, b. 1921. 

Fracei Pietro, 1816. 

Campi Giuseppe, 1760, 1762. 

Benedetti Giuseppe, 1700. 

Comuni Antonio, 1820-1823. 

Galieri Giuseppe, 1753. 

Guadagnini Giovanni Battista, 1711 — 1786. 

Guadagnini Lorenzo, 1695—1760. 

Leb Matias, 1775. 

Lorencini Gasparo, 1750. 

Nadoti Josef, 1757-1789. 

Riva Giovanni, 1884. 

Rossi Domenico, d. 1910. 

Rossi fu Domenico, 1937. 

Rossi Emilio, b. 1895. 

Zanotti Giuseppe, 1700. 

Bertasio Luigi, 19th cent. 

Bertassi Ambrogio, 1730. 

Ceruti Sebastiano, 1615. 

Galerzena, 1790. 
Pienza: Drinda Giacomo, 18th cent. 
Piperno: Visco Bruto, 1600, 1608. 

Badalassi Pietro Valentino di, b. 1915. 

Belluomini Maurizio, 19th cent. 

Bottari Fernando, 1849. 

Brandini Fausto, 1777. 

Brandini Jacopo, 1789-1807. 

Chiochini Pietro, 1740-1760. 

Grandi Luigi, 1874. 

Imperio Annibale, 1750. 

Meleandri Adolfo, 1940-1945. 

Turchi Gian Martino, 1606. 

Baroncini Giuseppe, 19th cent. 

Salvadori Giuseppe, 1861, 1863. 

Monturri Giuseppe, 1840. 
Pive di Cento (Bologna): 

Carletti Carlo, b. 1873, d. 194L 

Carletti Natale, b. 1904. 

Carleti Orfeo, 1873-1944. 

Gamberini Claudio, b. 1895. 

Gotti Orsolo, b. 1867, d. 1922. 

Govoni Guglielmo, b. 1911. 
Poggio (Mantova): Barbieri Giuseppe, 1880. 

Bertolotti Francesco, 16th cent. 

Bertolotti Santino, 16th cent. 

Zara Gaspare, 1896, 1902. 
Pordenone (Udine): 

Pera Gerolamo, 1846, 1847. 
Quistello: Morselli Arturo, 1862. 

Legnani, b. 1790, d. 1877. 

Miani Domenico, 18th cent. 

Mingazzi Luigi, b. 1859, d. 1933. 

Rossini Giovanni Battista Maria, 1765 — 1777. 

Vasi Marco, 1830. 
Reggio Emilia: 

Bedocchi Mario, 19th cent. 1880. 

Bertolini Angelo, b. 1881. 

Finicchio Bibbiano, 17th cent. 

Guastala Alfr., 1949. 

Guastala Dante, 1893. 

Martani Antonio, b. 1804, d. 1866. 

Simonazzi Amedeo, b. 1891. 

Simontazzi Riccardo, b. 1929. 

Sancini Fernando, b. 1891. 

Zani Francesco, 1724 — 1765. 
Rimini (Forli): 

Ballarini Santo, 1740-1781. 

Capicchioni Marino, b. 1895. 

Diotallevi Michelangelo, 1820. 

Gori Pietro, 1820. 

Lombardi Giulio, 1789. 

Paolini Luigi, b. 1875, d. 1942. 

Rinaldi Lodovico, 1804. 

Sombaldi Giuseppe, 1741. 
Ripa (Ascoli): 

Desideri Pietro, 1793-1837. 

Desideri Raffaele, b. 1797, d. 1871. 
Ripa Saravezza (Lucca): 

Bertozzi Alfredo, fu Giuseppe, 20th cent. 

Desideti Pietro. 

Floriani Pietro, b. 1787, d. 1870. 

Caprari Francesco, 1846. 

De Luca Ant. Di Mateo, 1937. 

Fifo Pagliano del, 1840. 

Accardi Antonio, d. 1900. 

Albani Paolo, 1630-1695. 

Alberti Giorgio, d. 1624. 


Albert! Giovanni, d. 1600. 
Alberti Giovanni Giorgie, d. 1617. 
Albertis Pietro de, 1578-1598. 
Alberto Andrea di, 1608. 
Allesandroni Paolo, 1850, 1860. 
Aloy Dario, b. 1902. 
Ambrogi Pietro, 1712-1748. 
Amici Luigi, 18— 19th cent. 
Andrea Giovanni, 1606. 
Arnoldi Carlo, 1790. 
Assalone Gasparo d', 1690-1740. 
Aurelli Aurelio, b. 1870, d. 1925. 
Ballarini Santo, 1740-1781. 
Bartolini M., 19th cent. 
Bassiano, 1666. 
Bertini Vincenzo, 1914. 
Bertucci Fausto, b. 1897. 
Boccaber Matteo, 1592-1619. 
Bucci Mariano, 18th cent. 
Buonaroti, 18th cent. 
Cacchioni e Figli, 20th cent. 
Calar Giovanni, 1624, d. 1635. 
Carletti Carlo, 19th cent. 
Caruana Biagio Marsigliese, b. 1885. 
Casale, 20th cent. 
Cassarano e Figlio Ernesto. 
Castaro Antonio, 1615. 
Chelz Stephan, 1602. 
Chinquegrani Ercole, 1882. 
Coradotti Luigi, 19th cent. 
Corsi Giuseppe, b. 1876, d. 1931. 
Cortaro Antonio, 1614. 
Craile Magno, 1572-1642. 
Craile Pietro, 1617-1649. 
D'Amelio Teresa, 1937. 
Dominicus Joannes, 1570. 
Di Lelio Armando, b. 1925. 
Ecchio Giovanni, 1610, d. 1622. 
Embergher Luigi, 1898, 1900. 
Emiliani Francesco de, 1704—1736. 
Enrico Giovanni di, 1590-1608. 
Fantozzi Pietro, b. 1876. 
Ferrari Gasparo, 1731-1776. 
Filippi Filippo, ca 1876. 
Forno Christoforo del, 1608. 
Fredi Cte Fabio, b. 1845, d. 1894. 
Fredi Rodolfo Cte, b. 1861, d. 1950. 
Gallesi Gioachino, b. 1876. 
Giacometti Giambattista, 1586. 
Giacchetti Giuseppe, b. 1890. 
Gigli Giulio Cesare, 1721-1762. 
Giovannini Giorgio, 1611. 
Gonzales Aurelio, b. 1908. 
Grasso Vincenzo. 
Guadagnini Giuseppe, 1890—1900. 

Gualzatta Benedeto, 1716-1726. 

Guardelli Brothers, 19th cent. 

Guillani Sanctus, 1710. 

Harford Patrik, 1742. 

Hec Giovanni, 1606. 

Hetel G., 1763. 

Horil Jacob, 1720-1759. 

Huetter Martin, 19th cent. 

Indelanch Stephan, 1640-1643. 

Juliano Francesco, 1690—1725. 

Kasperger Johannes Hieronymus, 17th cent. 

Lamo Antonio, 1610. 

Lauro Antonio, 1608, 1610. 

Leonori Paolo, b. 1903. 

Leper Domenicr, 19th cent. 

Lepore Luigi, 1850-1880. 

Leutis Gerolamo de, 1638. 

Liainer Alberto, 1674. 

Liorni Augusto, 1900. 

Maldura Giovanni Battista, 1900. 

Manfrini Luigi, 1810. 

Marchetti Severino, 1797. 

Mariano Bernardo, 1770-1805. 

Marsigliese Biago Car., b. 1885. 

Massenzio Erneste, b. 1900. 

Mastracci Amedeo, b. 1895. 

Mazzuoli Felice, 1783. 

Moglie Alberto Fernando, b. 1890. 

Monfrini Luigi, 1810. 

Moretti Alberto, 20th cent. 

Moretti Carlo, b. 1891. 

Mosca-Cavelli C, 1726. 

Mosca-Cavelli Martino, 1608. 

Nona Francesco della, 1610, 1612. 

Oliveri Francesco. 

Orazio Giovanni Filippo d', 1554. 

Orelli Joseph, 18th cent. 

Orselli Giuseppe, 1792. 

Orzelli Giuseppe, 1800. 

Palma Orazio, b. 1870, d. 1922. 

Panzani Antonio, b. 1867. 

Paralupi Rodolfo, b. 1890. 

Pedroni Antonio, 1867. 

Perni Pietro, 19th cent. 

Petroni Antonio, 1867. 

Pfanschel Peter, b. 1582. 

Pfanschel Peter, b. 1598, d. 1637. 

Pfanzelt Johann, d. 1611. 

Pfanzelt Martin, b. 1597. 

Philippi P., 1885. 

Plainer Michael, 1735, 1750. 

Politi Enrico, b. 1885. 

Politi Eugenio, b. 1853, d. 1909. 

Politi Fernando, 1882-1928. 

Politi Raoul, b. 1913. 


Pollusca (Paluska) Antonio, 1750. 
Portoghese Francesco, 1616. 
Puzzini Benito, 1876. 
Ramolo Giovanni, 1626. 
Raynaldi Antonio, 1517. 
Romani Giulio Cesare, 18th cent. 
Rosa Agostino, 1795. 
Rosilli Salvatore, 1797. 
Rossi Giuseppe (Cte), b. 1869. 
Rossio Giovanni, 1901. 
Sacconi Fernando, b. 1895. 
Sainsione Giovanni, 1725. 
Salino Giovanni Battista, 1760. 
Sanctis Giovanni de, 1884. 
Sante Giuseppe, 1778. 
Sciale Giuseppe, 1810-1840. 
Schmitt Domenico, 1640. 
Sgarbi Antonio, b. 1866. 
Sgarbi Giuseppe, 1770-1805. 
Sgarbi Giuseppe, 1818-1905. 
Smolka (Smolka) Francesco, 1849. 
Smorzone Giovanni, 1720, 1724. 
Stefano Umberto, b. 1924. 
Tacconi Enrico, 1884. 
Taningard Giorgio, 1735—1750. 
Tarasconi Carlo, 1903. 
Tecchler Andreas, 1748. 
Tecchler Antonio Geronimo, 1735. 
Tecchler David, 1666, d. 1743. 
Tedesco Lepoldo il, b. 1625, d. ca 1658. 
Teodoti Gerolamo, 1711. 
Teodotti Giovanni, 17th cent. 
Todini Michele, b. 1625, d. 1676. 
Todini Pietro, 1620-1675. 
Tomassini Domenico, b. 1892. 
Tomassuci Giasone, b. 1896. 
Tononi Giovanni, 1689-1740. 
Tononi Guido, 1690-1760. 
Toppani Michel Angelo de, 1735—1750. 
Tortobello Francesco, 1680. 
Troiani Carlo, 1889. 
Troiani Francesco, 19th cent. 
Turchi Gian Martino, 1606. 
Ugar Crescenzio, b. 1712, d. 1791. 
Ursini O., 1635. 
Valente Raffaele, 1898. 
Valenti Pietro, 20th cent. 
Valentini Valentino, b. 1881. 
Valenzano Giovanni Maria, 1771 — 1825. 
Viganzio Lodovico, 1623. 
Visco Bruto, 1600, 1608. 
Vogler Michael, 1632, d. 1672. 
Zentis Gerolamo de, 1633-1680. 
Rotello (Campabasso): 

Vitantonio Vito, 1916, d. 1946. 


Mascotti Giuseppe, 1637. 

Merfeotto Giuseppe, 1637. 
Roveredo: Chiusole Antonio, 1784. 

Bargelh Gius., 1886. 
Solera (Alessandria): 

Gallinotti Pietro, 1937. 

Annarumma Vincenzo, b. 1892. 

De Luccia Michele. 

Gallinoti Pietro, b. 1885. 

Boldrini Ovidio, 1864. 

Fontanini Andrea Pietro, b. 1871, d. 1923. 

Fontanini Aristide, b. 1894. 

Nelh Nicolo, b. 1861. 
Saluzzio (Saluzzo): 

Acevo (Acero), 1620-1690. 

Cappa Gioachino and Giuseppe, 1661 — 1725. 

Cappa Giuseppe Francesco, 1600—1645. 

Cappa Goffredo, b. 1644, d. 1717. 

Giulani, 1660. 

Sapino, 1670. 
Santa Agata: 

Marcucci Custode, b. 1864. 
San Angelo: 

Pisani, 1756. 
Sant Angelo: 

Cervo Giovanni, 1489. 

Pisani, 1756. 
5. Arcangelo di Romagna: 

Lepri Giuseppe, b. 1896. 
San Benedetto del Tronto: 

Cutugno Giov., b. 1894. 

Leoni Guido, b. 1902. 
San Cesario near Parano: 

PeHicciari Rob., 1887. 
San Cresci (Florence): 

Perugia Fernando del, 1857. 
San Felice (Modena): 

Baraldi Giovanni, 1766. 

Ferraresi Vincenzo, 1793—1869. 

Ganzerla Luigi, b. 1794, d. 1861. 

Sgarabotto Gaetano Cavaliere, b. 1878. 
San Donnino Nizzola: 

Guerra Alberto, 1908. 
San Giovanni: 

Picciati Ippolito, 1850, 1856. 
San Leonardo (Parma): 

Orlandi Archimede, b. 1909. 
San Lorenzo (Borgo): 

Benvenuti Paolo, 18th cent. 
San Marino: 

Valentini Arturo, b. 1865, d. 1944. 


San Martina d'Este (Modena): 

Baracchi Venezio, 1829. 

Pagani Pietro, 1836. 

Reggiani Francesco, 1835. 

Sacchetti Gianetto e Figli, 1937. 

Soncini L., 1831. 
San Paolo d'Enza (Reggio Emilia): 

Rocchi Sesto, b. 1909. 
San Remo: 

Panizzi Giovanni Battista, b. 1890. 

Tivoli Fiorini, b. 1894. 
San Valentino (Reggio): 

Rogieri Domenico, d. 1750. 

Ronchetti Domenico, 1689, 1769. 
S. Vito (Tagliamento): 

Totis Giuseppe, 1937. 

Uitenus Nicolaus, 1650. 
S. Vittoria: 

Simonazzi Amedeo, b. 1891. 
5. Zeno (Verona) : 

Vallusa Marcello, 1937. 

Gianotti Achille, 1870. 
Sassuolo (Modena): 

Botti Antonio, 19th cent. 

Roselli Antonio, b. 1798, d. 1870. 

Trucco Gerolamo, 1840. 

Traverso Giuseppe, b. 1878. 
Scandiano (Modena): 

Bassi A., 19th cent. 

Trinelh Giovanni, d. 1815. 
Secondigliano: lorini Ant. 

Magnoni Carlo Antonio, 1514. 
Sesso (Reggio Emilia): 

Jori Leandro, 1819-1880. 

Santi Cristoforo, 1748. 
Sesto Calende: 

Ardeh Angelo, b. 1929. 
Sesto ed Unite: 

Pizzamiglio Carlo, b. 1914. 

Bimbi Bartolomeo, 1750—1769. 

Ciotti Leone, 1889. 

Ferati Pietro, 1754-1764. 

Ferrari Carlo, 1740. 

Fiscier Tobia, 1680-1721. 

Guerrini Giuseppe, 1813. 

Landi Pietro, 1774. 

Olmi Alberto, 19th cent. 

Scardighi Ettore, 1889. 

Taus Andreas, 1621. 


Dionigi Alessandro, 18th cent. 

Allegretti Massimiliano, 1873 — 83. 
Soncino (Cremona): 

Peccati Umberto, b. 1878, d. 1944. 
Spilamberto (Modena): 

Anderlini Giuseppe, 1860. 

Bonvincini Filippo, 1790, 1796. 

Cavani Giovanni, b. 1831. 

Cavani Vincenzo, b. 1889. 

Cornino, 180 . . 

Sirotti Nicolo, 19th cent. 

Vischi, 1880. 

Volpe Marco, 1820, d. 1839. 

Rottela Bernardino, 1827. 

Tartaglio Francesco, 19th cent. 
Suzzara (Mantua): 

Pecchini Vasco, b. 1893. 

Dionigi Alessandro, 18th c. 

Raynaud Andre, 1755-1766. 

Autiero Paride, 1860-1870. 

Orsini Ercole, 1937-1950. 

Ballarini Santo, 1740-1781. 

Consili Giovanni, 1828-1829. 

Fredi Fabio, d. 1894. 
I Martini Simone, 1608. 

Paolini Luigi, b. 1875, d. 1942. 
Torre Boldone (Bergamo): 

Calvarola Bartolomeo, 1750—1767. 
Torre Pellice near Turin: 

Agostinelli Luigi, b. 1891. 

Mercati Domenico, b. 1894. 

Thir Tommaso, 1692. 

Berera Giovanni Antonio, 1770. 

Leoni Carlo, 1851-1861. 

Biza Giovanni Battista, 1779. 

Dalla Costa Marco, 1640-1680. 

Dalla Costa Pietro Antonio, 1700-1768. 

Faversani Carlo Fernando, b. 1886. 

Faversani Cervino C. M., b. 1904. 

Gottardi Antonio, 1878. 


Leoni Carlo, 1851-1861. 

Zenatto Pietro, 1680-1694. 

Girardi Mario, 1937. 

Paoli Luigi, b. 1903. 

Valenzano Giovanni Maria, 1771. 
Trivento (Compobasso): 

D'Ovidio Antonio, 1937. 
Trusiano: Panormo Vincenzo, b. 1734, d. 1813. 

Adam Abele, about 1712. 

Amberton Laurentius, 1756. 

Azzola Luigi, b. 1883. 

Ballarini Santo, 1749-1781. 

BeirOrsi Michel Angelo, 1681. 

Bruno Carlo Colombo, b. 1872. 

Calot, 1820-1830. 

Cappa Gioachino, 1661 — 1725. 

Capa Giuseppe, 1600-1645. 

Cappa Goffredo, b. 1644, d. 1717. 

Catenari Enrico, 1671 — 1746. 

Catenari Giuseppe Francesco, 1703—1720. 

Catenari Francesco, 18th cent. 

Ceoniatus Gian Francesco, 1725—1742. 

Contegiacomo Giovanni, 1900. 

Curletto Anselmo, b. 1888. 

D'Espines Alessandro, 1828—1842. 

Fagnola Annibale, 1890-1939. 

Fasciolo Angelo, d. 1942. 

Ferrarotti Dionigi, b. 1903. 

Ferrarotti Luigi, b. 1878. 

Ferrarotti Figlio, 20th cent. 

Gatti Ernesto, 1886. 

Gatti Giorgio, 1899-1910. 

Genova Giovanni Battista, 1765. 

Genari, 1750. 

Gioffreda B., 1860. 

Giorgi Nicola, 1717-1760. 

Gondolo Giorgio, 1884. 

Guadagnini Antonio, b. 1831, d. 1881. 

Guadagnini Carlo, 1780-1839. 

Guadagnini Felice, 1834-1835. 

Guadagnini Felice, 1830. 

Guadagnini Francesco, 1863—1937. 

Guadagnini Gaetano, 1775—1831. 

Guadagnini Gaetano, 1835—1852. 

Guadagnini Giovanni Antonio, 1750. 

Guadagnini Giovanni Eapt., b. 1685, d. ca 1770. 

Guadagnini Giovanni Battista, b. 1711, d. 1786. 

Guadagnini Giuseppe, 1884—1900. 

Guadagnini Giuseppe, 1890-1900. 

Guadagnini Lorenzo, 1790. 

Guadagnini Paolo, 20th cent. 

Guerra Evasio, b. 1880. 

Lione Francesco, 1790. 

Marengo- Rinaldi Romano, b. 1866. 

Marchetti Enrico, 1855-1930. 

Marchetti Vittorio, 1894. 

Medard Henri, b. 1629. 

Melegari Enrico, 1860-1888. 

Melagari Pietro, 1850. 

Menighetti Martino, d. 1940. 

Miglini Carlo, 1937. 

Mongel A., 1820, 1830. 

Morano Arnaldo, b. 1911. 

Moruto Carlo, 19th cent. 

Moruto Marcelo, 20th cent. 

Oddone Carlo Giuseppe, b. 1866. 

Oliveri Felice, 1870-1904. 

Orzero Tommaso. 19th cent. 

Pacherle Pierre, b. 1803, d. 1871. 

Politi Fernando, 1882-1928. 

Pratasini Giovanni, 1780. 

Pressenda Gianfrancesco, b. 1777, d. 1854. 

Pressenda Raffaele, ca 1790. 

Ramusio Giovanni, 1779. 

Rinaldi Gofredo Benedetto, 1850, d. 1888. 

Rocca Giovanni Domenico, 1809. 

Rocca Giuseppe Antonio, b. 1807, d. 1865. 

Rondani Ernesto, 1884. 

Senta Fabricio, 1664. 

Senta Felicio, 18th cent. 

Spampinato Giuseppe, b. 1916. 

Torrano, 1700. 

Gofriller Francesco, 1660-1740. 

Moretti Egidio, b. 1894. 

Muschietti Renzo. 

Muschietti Umberto, b. 1875, d. 1937. 

Nonini Giuseppe, b. 1897. 

Puppati Francesco, b. 1838. 

Seraphin Giorgio, 1841-1887. 

Seraphin Santo, b. 1668, d. 1748. 

Vaccari ... 

Veronesi Enrico, b. 1875. 

Zugolo Frederico, 19th cent. 

Zugolo Pietro, d. 1888. 

Tomassuci Cigno, b. 1912. 

Costa Lodovico, 1786. 

Valenzano Giovanni Maria, 1771 — 1825. 
Valtezze (Bergamo): 

Lolio Giovanni Battista, 1740—1750. 
Varese (Como): 

Giudici Antonio, b. 1860, d. 1931. 

Giudici Carlo, b. 1894. 

MoriUi Mauro, 1937. 

Rovescalli Tullio, b. 1906. 


Venerio (Reggio Emilia): 

Giaroni Elviro, 20th cent. 

Alessandro "il Veneziano", 1540. 

Amatis Giambattista, 1677. 

Castro, 1680-1720. 

Andrea Pietro, 1650-1700. 

Andreae Joannes, 1511. 

Andreolo, 1359. 

Anselmo Pietro, 1730-1760. 

Antonio Maestro, 16th cent. 

Attore Michele, 1583-1620. 

Baffo Antonio, b. about 1490. 

Barbi Michele, 1748. 

Barnia Fedele, 1760-1780. 

Bellosio Anselmo, 1715-1789. 

Bellosio Giovanni, 1735. 

Bartoli Giuseppe, 1899. 

Bodeni Luigi, 1719. 

Bodio Gennaro, 1740. 

Bodio Giambattista, 1790-1832. 

Bono Gaetano, 18th cent. 

Bonozzati Gerolamo, 1899. 

Busan Domenico, 1740-1780. 

Caspan Giovanni Pietro, 1658 — 1670. 

Cecco Christoforo, 1654. 

Cerin Marco, 1610. 

Cerin Marc Antonio, 1780-1824. 

Ciochi Antonio, 1790. 

Cliricato Luigi, 1899. 

Cocks Christoforo, 1654. 

Corara Giacomo, 1775. 

Cornelli Giorgio, 1797. 

Cosetto Giuseppe, 1760-1790. 

Costa Giovanni Battista, 1765 — 1778. 

Cozzi Battista, 19th cent. 

Dalla Porta Marc Antonio, 1601. 

DairOngaro Ignazio, 1747-1783. 

Deconetti Giovanni Battista, 1720—1742. 

Deconetti Michele, 1752-1795. 

Degani Eugenio, b. 1840, d. 1900. 

Degani Giulio, b. 1875. 

Domenico, 1522-1548. 

Donato Serafino, 1411. 

Ebert Enrico, 1655. 

Erthel Leopoldo, 1710. 

Fabris Luigi, 1838, d. 1873. 

Farinato Paolo, 1695-1725. 

Faruzi Francesco, 1853. 

Fontana Nicolo, b. 1499, d. ca 1557. 

Chirardi Giovanni Battista, 1791. 

Gobetti Francesco, 1690-1732. 

Gofriller Antonio, 1730. 

Gofriller Francesco, 1660-1740. 

Gofriller Matteo, 1690-1742. 

Guarneri Pietro I, 1655-1728. 

Guarneri Pietro II, 1695-1762 

Gusnasco Lorenzo, 1500. 

Hesin Giacomo, 1566. 

Hieber Giovanni, 1560-1590. 

Hoch Christian, 17th-18th cent. 

Indri Antonio, 1781-1864. 

Kaysser Georgius, 1595. 

Kaysser Martino, 1609-1632. 

Linarolo Francesco, 1540. 

Linarolo Giovanni, 1622. 

Linarolo Ventura, 1577—1591. 

Lorenzo Giovanni Battista Cavaliere de, 1862—1878. 

Luglioni Giuseppe, 1777. 

Maler Sigismondo, 1460—1526. 

Malta Simone, ca 1499. 

Marco Antonio, 1700. 

Mezzano Federico, 1695. 

Molinari Antonio, 1672-1703. 

Molinari Giuseppe, 1737 — 1763. 

Montagnana Domenico, 1690—1750. 

Morella Morglato, 1544-1602. 

Novello Marco, 1720. 

Novello Marc Antonio, 1780-1795. 

Novello Pietro Valentino, 1790-1800. 

Ongaro Ignazio viz Dall'Ongaro. 

Paganoni Antonio, 1750. 

Pandolfi Antonio, 1710-1740. 

Pietri Pietro, 1690. 

Railich Pietro, 1644-1670. 

Rechardini Giovanni (Zuane), 1605—1609. 

Rechardini Pietro, 1617. 

Roche Sebastiano, 1620. 

Sansone Maestro Battista, 1540. 

Santagiuliana Giacinto, 1770—1830. 

Santo Bartolomeo di, 1536. 

Sardi, 1649. 

Schwarz Giovanni, b. 1865, d. 1937. 

Sellas Giorgio, 1624-1680. 

Sellas Matteo, 1600-1627. 

Seraphin Giorgio, 1742-1747. 

Seraphin Santo, b. 1668, d. 1748. 

Settin Giuseppe, b. 1893. 

Siciliano Antonio, 1630 — 1660. 

Siciliano Giacchino, 1670—1680. 

Siega Ettore, b. 1860, d. 1936. 

Siega Iginio, b. 1903, d. 1936. 

Sigismondo, Maestro, 1514. 

Stanza Giuseppe, b. 1660, d. 1684. 

Steger Magnus, 17th cent. 

Straub Michael, 1670-1680. 

Tassini Bartolomeo, 1740—1755. 

Tecchler David, 1666, d. 1743. 

Tieffenbrucker Leonard, 1590. 

Tieffenbrucker Magnus, 1557—1621. 


Tieffenbrucker Moises, 18lh cent. 

Tieffenbrucker Ulrich, 1521. 

Tononi Carlo Antonio, 1721-1768. 

Tononi Giovanni, 1689-1740. 

Unverdorben Max, 1515. 

Valonini Zanoli, 1765-1783. 

Varangoli Ferrucio, 1885—1916. 

Ventura Francesco. 

Venturi Leonello, 16th cent. 

Vicenardi Paolo, 18th cent. 

Vimercati Paolo, 1660-1710. 

Vimercati Pietro, 1640—1660. 

Violcete Giov. G., 1655. 

Zamberti Giuseppe, 1937. 

Zanoli Giacomo, 1730 — 1763. 

Zanoli Valentino, 1783. 

Zuzzi Vittorio, 20th cent. 

Mercolini Pietro, 1821-1891. 
Verica (Frigano): 

Bortolotti Giovanni, 1884-1894. 
Verucchio (Pesaro): 

Vignali Giuseppe, b. 1888, d. 1918. 
Verolanuova: Rosio Paolo, 1857. 

Andreae Joannes, 1511. 

Barbieri Francesco, 1695—1750. 

Bastiano, 15th — 16th cent. 

Campoy J., 1854-1860. 

Cardi Luigi, 1857. 

Carletti Giovanni, 20th cent. 

Costa Agostino di, 1600-1622. 

Daniele, 18th cent. 

Dominichino Giuseppe, 1700,1709. 

Foradori Giovanni, 1855, 1860. 

Maratti Giambattista, 1690, 1700. 

Mariatti (Maratti?) Giambattista, 1700. 

Obici Bartolomeo, 1665—1685. 

Obici Bartolomeo, 1750—1755. 

Palazolli Giovanni Battista, 1605. 

Rabaglietti Antonio, 1652. 

Rauser Sebastian, 1590-1605. 

Salviati Francesco, 19th cent. 

Sanoni Giovanni Battista, 1680—1740. 

Scotto, 1511. 

Strati Michael, 1792. 

ToreUi, 1625. 

Zanoh Giacomo, 1740-1757. 

Zanoli Giacomo, 1730—1763. 
Vescovato near Cremona: 

Beltrami Giuseppe, 1870-1881. 

Ventura Annibale, 1740. 
Viareggio (Lucca): 

Giannini Fabrizio, b. 1912. 

Mei Giovanni Ranieri, b. 1863. 

Busan Domenico, 1740—1780. 

Lazzaretti Francesco, 1852—1900. 

Lorenzo Giov. Bat., 1862-1878. 

Santagiuliana Gaetano, 1804. 

Santagiuliana Giacinto, 1770—1830. 

Sgarabotto Gaetano Cavaliere, b. 1878. 

Vetorazzo Giovanni, 1793. 

Travi Erminio. 
Villafranca (Piemont): 

Bombirio Domenico, 1720—1730. 
Villa Minozza (Modena): 

Chiari Francesco, 1880, 1883. 

Razzoli Felice, 1880. 

Rubini or Rubis Aug. or Ang., 1763—1771. 

Zentis Girolamo de, 1633-1680. 


31 4l 51 

384. Nicolo Amati, Cremona, 1663 

llO m \12 ■ IB ■ Il4 IB lie W IB 'I" 2lD 

385. Nicolo Amati, Cremona, 1658 

fltcolaus QfTialius G^e/nonLca :^&zrom 

386. Nicolo Amati, Cremona, 1676 


387. Nicolo Amati, Cremona, 1678 



IB 119 2i0 211 

388. Nicolo Amati, Cremona 


390. Gaspar Bertolotti, Brescia, 1601 

01 ■ ll ' ?! ' 3l ' 4I ' 51 ' 


391. Andrea Guarneri, Cremona, 1635 

Id 2N 



332. Joseph Guarneri fil. Andreas, 1735 

llg 2l0 2ll 


393. Joseph Guarneri del Gesu, 1759 



394. Joseph Guarneri del Gesu, "Ysay" 

m 2l0 . 2ll 


395. Joseph Guarneri del Gesu, 1734 


396. Joseph Guarneri del Gesu, 1739 


397. Joseph Guarneri del Ges 


398. Joseph Guarneri del Gesu, 17o9 




399. Joseph Guarneri del Gesu, 1739 

400. Joseph Guarneri del Gesu, 1742 


401. Maggini Paolo 


402. Laurentius Storioni, 1795 



403. Antonio Stradivari, 1688 


404. Antonio Stradivari, Cremsna, "Vescey" 


403. Antonio Stradivari, Cremona, 1688 406. Antonio Stradivari, Cremona, 1700 


407. Antonio Stradivari, Cremona, 1705 



403. Antonio Stradivari, Cremona, 1710, Vieuxtemps 



409. Antonio Stradivari, Cremona, 1708 


410. Antonio Stradivari, Cremona, 1716 







411. Antonio Stradivari, Cremona, 1718 

412. Antonio Stradivari, Cremona, 1714 



413. Carlo Antonio Tononi 


414. Pietro Zanetto, Brescia, 1686 


115. Pietro Zanetto, Brescia, 1686 

416. Pietro Zanetto, Brescia, 1686 



417. Pietro Zanetto, Brescia, 1686 



: DUE 

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